Faculty o Arts, Law & Social Sciences
Department of Music & Performing Arts
Music Therapy Therapy and Dementia Care in the 21st Century Conerence Programme September 4–6, 2015
anglia.ac.uk/therapies-con
Conference Programme 4�6 September 2015
1
Programme | Saturday Saturday 5 5 September
Programme | Sunday Sunday 6 6 September
09.00
Registration and coffee
09.00
Registration and coffee
09.30
Opening and Chair: Helen Odell-Miller
09.30
Opening and Chairs: Thomas Wosch & Helen Odell-Miller
09.45
David Aldridge
09.35
Hanne Mette Ridder
Music therapy practice and research – 25 years on
10.20
The singing nurse?! Music therapy, interdisciplinarity and an overview of research in psychosocial interventions
10.20
Ming Hung Hsu In pursuit of music therapy’s mechanisms in dementia care: emerging theories, research and caveats
11.05 05
Discus Dis cussio sion n andqu quest estio ions ns
11.15
Break
11.4 11 .45 5
1 2. 2. 30 30
LAB003
LAB111
LAB112
LAB113
Recital Hall
Rich Ri char ard d Sa Sand nder erso son n
Susan Wilson
Jamal Jasani Glynn
David Nicholson
A musical journey through dementia: Examples from practice
Music therapy through the looking glass: a care home manager’sperspectiveof music therapy in dementia care
The effects of childhood abuse on a dementia client: A case study from Trinidad and Tobago focusing on the bene�its of music therapy
Boundary and space: Exploring the potential implications of ‘in the moment relating’ within the music therapy dementia group
WORKSHOP: Barbara J. Crowe
A nn nn S lo lo bo bo da da
Emma Maclean Collaboration with nursing and occupational therapy staff to establish the role of music therapy alongside other music interventions on an inpatient ward for older people with advanced dementia
Elizabeth Nightingale
Kerrie O’Connor
Sonata reformed – a vital link for a musical man with dementia
13.05
Lunch
14.15
ROUND TABLE: Jörg Fachner, Sarah Faber, Thomas Wosch and AlexisKirke
Music therapy with couples: Restoring a lost connection in dementia care
Would you like a song?: Thetransformativepower of a simple question in group music therapy for individuals with Dementia
MariëtteBroersen
Kathryn Nall
Polly Bowler
Individual music therapy and symptoms of depression in dementia
Re�lections on enhancing the quality of interactions for people with dementia through music therapy informed by theories of Tom Kitwood and ideas from systemic family therapy. This will be illustrated with a presentation of recent work
Using Kitwood to explore the use of pre-composed music, improvisation and the ‘in-between’ in music therapy with people with dementia
Jillian Mathews
Adrienne Freeman
Josie Nugent
Exploring the uses of harp based music therapy in acute medicine of the elderly wards
Negotiating the border: music therapy for people in the last hours of dementia
Attention,Arousal, Dialogue?! Approaches towardsfacilitating occasional music therapy interventions for adults with dementia in Northern Ireland
Perspectives of ICT Neuroscience and Music in Dementia care
15.00
15.45
Break
1 6. 6.1 5
N ic ic ky ky Ha Ha ir ir ea nd nd Jane Bentley Mapping musics in dementia care in Scotland: communitymusicians and music therapists approachingdementia together
17.0 .00 0
Phil Ph ilip ippa paDerri Derring ngto ton n and Rebecca Queen Approachingdementiacare together
17.45
Thomas Woodward
AliceNicholls
Can you help my husband listen to music again? Changing expectations of music therapy for a couple in dementia care
Memory lane: Community music therapy within a multidisciplinary team working with older adults with dementia
Anke Coomans
Rachel Smith
'Moments of resonance’ in musical improvisation with people in a severe stage of dementia. An explorative multiple case study research
Working with groups and Individuals: Musical pathways in dementia care
Orii McDermott Measuring the “unmeasurable”? Challenges of translating clinically meaningful moments in health research and communicating these moments with non-music therapists
11.05 05
Discu Dis cussi ssion on andque questi stions ons
11.15
Break LAB003
LAB111
LAB112
LAB113
Recital Hall
11.45
ROUND TABLE:
Sally A Pestell
Jane Moulton
Dancing to my tune: A clinical music therapy approach for people with dementia
WORKSHOP: Giorgos Tsiris & Camilla Farrant
1 2. 3 0
Ming Hung Hsu, Polly Bowler, Rosamund Flowerdew, Heather Russell, Laura Bolton, Helen Odell-Miller Beyond music making: Making music therapy work for the health and care of people in dementia care homes
C. Richards and I. Spink
Group drumming and rhythmic experiences for older adults: An instructional workshop
Jeni Melia and S. Russell
Side by side with tea, pills and blood pressure: music therapy on NHS Hospital wards for people with dementia
Mum playing the piano, me dancing on the stairs: from the sharing of individual stories to building a sense of community and group identity through a creative song writing project
Ellie Ruddock
Karen Gold
From Isolation to Inclusion: how a music therapy service can provide a gateway to further support networks,addressingthe changing needs of families living with dementia
The impact of music therapy on the patient, the institution, the wider community and the cost of care: exploring the bene�its of providing a music therapy service as part of a multi-disciplinary team
Senex, Puer and Sinatra: some thoughts about agedisparity and song
13.05
Lunch
14.15
Wai Man Ng Ng
Joy Gravestock
Gea van Straaten
Iain Spink
Music therapy for people with mild cognitive impairment: An early interventionbefore progressing toward dementia
Do you have space to come and be with my father?: A single psychoanalytically informed music therapy case study
Experience adjusted music therapy in dementia care (from a psychodynamic perspective)
Staying in the groove: music therapy with a musician with dementia
R ut ut h Me Me lh lh ui ui sh sh
Emma Jay Phillipson
MarianneRizkallah
Rebecca Dowson
Music therapy in an acute elderly Inpatient setting: Establishing and evaluating a new post
What can songwriting offer to people with dementia?
1 5. 5. 00 00
‘“Let them bring their own song”: a qualitative exploration of the impact on care staff participating in music therapy or dance movement therapy groups in a care home
15.3516.00
Drawing clients into the ‘present’ through use of voice
Evaluatingmusictherapy services in dementia care settings: A “hands-on” workshop
ROUND TABLE: CarolineAnderson (Chair), Ming Hung Hsu, Helen Odell-Miller, Alexia Quin What is the relevance of skillsharing to music therapists working in the �ield of dementia care?
Closing Ceremony
ROUND TABLE: Clare Monckton et al Music therapy in dementia care: Where do we go from here?
Joanna Burley Seeking Connection: the signi�icance of Gilbert & Sullivan in delivering person-centred dementia care
4
Music Therapy and Dementia Care in the 21st Century
Welcome Dear Delegates I am delighted to welcome you to our conference Music Therapy and Dementia Care in the 21st Century. This is our seventh music t herapy conference at Anglia Ruskin University and this year we are pleased to be collaborating with MHA, a large organisation running residential homes and outreach work for older people, including those with dementia. Our partnership over a number of years has included clinical work and new research in music therapy and the conference coincides with the publication of our collaborative research in BMC Geriatrics, which Keynote Speaker Ming Hung Hsu will refer to in his presentation on Saturday morning. We are also grateful to The British Association for Music T herapy (BAMT) which has also generously supported the conference. The conference is also linked to a one day ICRA (International Centre for Research in the Arts Therapies) conference entitled: 'The Role of Arts Therapies in Dementia Care' so our focus is upon dementia re�lecting current needs in our communities across the world and emphasising the importance of all the arts therapies in improving the quality of life for people with dementia. We have people attending from all over the world and an especially warm welcome to those who have travelled many miles to attend. You will see from the programme that there is a rich and diverse range of Papers, Workshops, Round Tables and Keynote Lectures, and I hope you will �ind the whole experience stimulating and thought provoking. We are pleased to be expanding our research within the new Jerome Booth Music Therapy Centre; in the Department of Music and Performing Arts within the Faculty of Arts Law and Social Sciences; where we are hosting national and international research projects and training students. Thank you to all those who have made this conference possible; welcome to you all and I hope you will be inspired by new knowledge, new learning and new experiences.
Conference Programme 4�6 September 2015
Contents Programme
4
Acknowledgements
6
General Information
7
Keynote speakers
8
Papers, Round Tables & Workshops 1
Caroline Anderson et al Round table
12
22
Kathryn Nall et al Paper
39
2
Polly Bowler Paper
13
23
Wai Man Ng Paper
40
3
Mariëtte Broersen Paper
14
24
Alice Nicholls Paper
41
4
Joanna Burley Paper
15
25
David Nicholson Paper
42
5
Anke Coomans Paper
16
26
Elizabeth Nightingale Paper
43
6
Barbara Crowe Workshop
17
27
Josie Nugent Paper
44
7
Philippa Derrington et al Paper
18
28
Kerrie O'Connor Paper
45
8
Becky Dowson Paper
19
29
Sally A. Pestell Paper
46
9
Jörg Fachner et al Round table
20
30
Emma Phillipson Paper
47
10
Adrienne Freeman Paper
21
31
Cathy Richards Richards et al Paper
48
11
Jamal Jasani Glynn Paper
22
32
Marianne Rizkallah Paper
49
12
Karen Gold Paper
23
33
Ellie Ruddock Paper
50
13
Joy Gravestock Paper
24
34
Richard Sanderson Paper
51
14
Nicky Haire Haire et al Paper
25
35
Ann Sloboda Paper
52
15
Ming Hung Hsu et al Round table
26
36
Rachel Smith Paper
53
16
Emma Maclean Paper
30
37
Iain Spink Paper
54
17
Jillian Mathews Paper
31
38
Neta Spiro et al Poster
55
18
Ruth Melhuish Paper
32
39
Gea van van Straaten Straaten Paper
56
19
Jeni Melia et al Paper
33
40
Giorgos Tsiris Tsiris et al Workshop
57
20
Clare Monckton Round table
34
41
Susan Wilson Paper
58
21
Jane Moulton et al Paper
38
42
Thomas Woodward Paper
59
Posters
Professor Helen Odell-Miller Chair of the Conference
5
60
Notes
61
Music Therapy and Dramatherapy at Anglia Ruskin University
66
Campus map
68
Conference Programme 4�6 September 2015
3
Programme | Saturday Saturday 5 5 September
Programme | Sunday Sunday 6 6 September
09.00
Registration and coffee
09.00
Registration and coffee
09.30
Opening and Chair: Helen Odell-Miller
09.30
Opening and Chairs: Thomas Wosch & Helen Odell-Miller
09.45
David Aldridge
09.35
Hanne Mette Ridder
Music therapy practice and research – 25 years on
10.20
The singing nurse?! Music therapy, interdisciplinarity and an overview of research in psychosocial interventions
10.20
Ming Hung Hsu In pursuit of music therapy’s mechanisms in dementia care: emerging theories, research and caveats
11.05 05
Discus Dis cussio sion n andqu quest estio ions ns
11.15
Break
11.4 11 .45 5
1 2. 2. 30 30
LAB003
LAB111
LAB112
LAB113
Recital Hall
Rich Ri char ard d Sa Sand nder erso son n
Susan Wilson
Jamal Jasani Glynn
David Nicholson
A musical journey through dementia: Examples from practice
Music therapy through the looking glass: a care home manager’sperspectiveof music therapy in dementia care
The effects of childhood abuse on a dementia client: A case study from Trinidad and Tobago focusing on the bene�its of music therapy
Boundary and space: Exploring the potential implications of ‘in the moment relating’ within the music therapy dementia group
WORKSHOP: Barbara J. Crowe
A nn nn S lo lo bo bo da da
Emma Maclean Collaboration with nursing and occupational therapy staff to establish the role of music therapy alongside other music interventions on an inpatient ward for older people with advanced dementia
Elizabeth Nightingale
Kerrie O’Connor
Sonata reformed – a vital link for a musical man with dementia
13.05
Lunch
14.15
ROUND TABLE: Jörg Fachner, Sarah Faber, Thomas Wosch and AlexisKirke
Music therapy with couples: Restoring a lost connection in dementia care
Would you like a song?: Thetransformativepower of a simple question in group music therapy for individuals with Dementia
MariëtteBroersen
Kathryn Nall
Polly Bowler
Individual music therapy and symptoms of depression in dementia
Re�lections on enhancing the quality of interactions for people with dementia through music therapy informed by theories of Tom Kitwood and ideas from systemic family therapy. This will be illustrated with a presentation of recent work
Using Kitwood to explore the use of pre-composed music, improvisation and the ‘in-between’ in music therapy with people with dementia
Jillian Mathews
Adrienne Freeman
Josie Nugent
Exploring the uses of harp based music therapy in acute medicine of the elderly wards
Negotiating the border: music therapy for people in the last hours of dementia
Attention,Arousal, Dialogue?! Approaches towardsfacilitating occasional music therapy interventions for adults with dementia in Northern Ireland
Perspectives of ICT Neuroscience and Music in Dementia care
15.00
15.45
Break
1 6. 6.1 5
N ic ic ky ky Ha Ha ir ir ea nd nd Jane Bentley Mapping musics in dementia care in Scotland: communitymusicians and music therapists approachingdementia together
17.0 .00 0
Phil Ph ilip ippa paDerri Derring ngto ton n and Rebecca Queen Approachingdementiacare together
17.45
Thomas Woodward
AliceNicholls
Can you help my husband listen to music again? Changing expectations of music therapy for a couple in dementia care
Memory lane: Community music therapy within a multidisciplinary team working with older adults with dementia
Anke Coomans
Rachel Smith
'Moments of resonance’ in musical improvisation with people in a severe stage of dementia. An explorative multiple case study research
Working with groups and Individuals: Musical pathways in dementia care
Orii McDermott Measuring the “unmeasurable”? Challenges of translating clinically meaningful moments in health research and communicating these moments with non-music therapists
11.05 05
Discu Dis cussi ssion on andque questi stions ons
11.15
Break LAB003
LAB111
LAB112
LAB113
Recital Hall
11.45
ROUND TABLE:
Sally A Pestell
Jane Moulton
Dancing to my tune: A clinical music therapy approach for people with dementia
WORKSHOP: Giorgos Tsiris & Camilla Farrant
1 2. 3 0
Ming Hung Hsu, Polly Bowler, Rosamund Flowerdew, Heather Russell, Laura Bolton, Helen Odell-Miller Beyond music making: Making music therapy work for the health and care of people in dementia care homes
C. Richards and I. Spink
Group drumming and rhythmic experiences for older adults: An instructional workshop
Jeni Melia and S. Russell
Side by side with tea, pills and blood pressure: music therapy on NHS Hospital wards for people with dementia
Mum playing the piano, me dancing on the stairs: from the sharing of individual stories to building a sense of community and group identity through a creative song writing project
Ellie Ruddock
Karen Gold
From Isolation to Inclusion: how a music therapy service can provide a gateway to further support networks,addressingthe changing needs of families living with dementia
The impact of music therapy on the patient, the institution, the wider community and the cost of care: exploring the bene�its of providing a music therapy service as part of a multi-disciplinary team
Senex, Puer and Sinatra: some thoughts about agedisparity and song
13.05
Lunch
14.15
Wai Man Ng Ng
Joy Gravestock
Gea van Straaten
Iain Spink
Music therapy for people with mild cognitive impairment: An early interventionbefore progressing toward dementia
Do you have space to come and be with my father?: A single psychoanalytically informed music therapy case study
Experience adjusted music therapy in dementia care (from a psychodynamic perspective)
Staying in the groove: music therapy with a musician with dementia
R ut ut h Me Me lh lh ui ui sh sh
Emma Jay Phillipson
MarianneRizkallah
Rebecca Dowson
Music therapy in an acute elderly Inpatient setting: Establishing and evaluating a new post
What can songwriting offer to people with dementia?
1 5. 5. 00 00
‘“Let them bring their own song”: a qualitative exploration of the impact on care staff participating in music therapy or dance movement therapy groups in a care home
15.3516.00
Drawing clients into the ‘present’ through use of voice
Evaluatingmusictherapy services in dementia care settings: A “hands-on” workshop
ROUND TABLE: CarolineAnderson (Chair), Ming Hung Hsu, Helen Odell-Miller, Alexia Quin What is the relevance of skillsharing to music therapists working in the �ield of dementia care?
Closing Ceremony
ROUND TABLE: Clare Monckton et al Music therapy in dementia care: Where do we go from here?
Joanna Burley Seeking Connection: the signi�icance of Gilbert & Sullivan in delivering person-centred dementia care
4
Music Therapy and Dementia Care in the 21st Century
Welcome Dear Delegates I am delighted to welcome you to our conference Music Therapy and Dementia Care in the 21st Century. This is our seventh music t herapy conference at Anglia Ruskin University and this year we are pleased to be collaborating with MHA, a large organisation running residential homes and outreach work for older people, including those with dementia. Our partnership over a number of years has included clinical work and new research in music therapy and the conference coincides with the publication of our collaborative research in BMC Geriatrics, which Keynote Speaker Ming Hung Hsu will refer to in his presentation on Saturday morning. We are also grateful to The British Association for Music T herapy (BAMT) which has also generously supported the conference. The conference is also linked to a one day ICRA (International Centre for Research in the Arts Therapies) conference entitled: 'The Role of Arts Therapies in Dementia Care' so our focus is upon dementia re�lecting current needs in our communities across the world and emphasising the importance of all the arts therapies in improving the quality of life for people with dementia. We have people attending from all over the world and an especially warm welcome to those who have travelled many miles to attend. You will see from the programme that there is a rich and diverse range of Papers, Workshops, Round Tables and Keynote Lectures, and I hope you will �ind the whole experience stimulating and thought provoking. We are pleased to be expanding our research within the new Jerome Booth Music Therapy Centre; in the Department of Music and Performing Arts within the Faculty of Arts Law and Social Sciences; where we are hosting national and international research projects and training students. Thank you to all those who have made this conference possible; welcome to you all and I hope you will be inspired by new knowledge, new learning and new experiences.
Conference Programme 4�6 September 2015
Contents Programme
4
Acknowledgements
6
General Information
7
Keynote speakers
8
Papers, Round Tables & Workshops 1
Caroline Anderson et al Round table
12
22
Kathryn Nall et al Paper
39
2
Polly Bowler Paper
13
23
Wai Man Ng Paper
40
3
Mariëtte Broersen Paper
14
24
Alice Nicholls Paper
41
4
Joanna Burley Paper
15
25
David Nicholson Paper
42
5
Anke Coomans Paper
16
26
Elizabeth Nightingale Paper
43
6
Barbara Crowe Workshop
17
27
Josie Nugent Paper
44
7
Philippa Derrington et al Paper
18
28
Kerrie O'Connor Paper
45
8
Becky Dowson Paper
19
29
Sally A. Pestell Paper
46
9
Jörg Fachner et al Round table
20
30
Emma Phillipson Paper
47
10
Adrienne Freeman Paper
21
31
Cathy Richards Richards et al Paper
48
11
Jamal Jasani Glynn Paper
22
32
Marianne Rizkallah Paper
49
12
Karen Gold Paper
23
33
Ellie Ruddock Paper
50
13
Joy Gravestock Paper
24
34
Richard Sanderson Paper
51
14
Nicky Haire Haire et al Paper
25
35
Ann Sloboda Paper
52
15
Ming Hung Hsu et al Round table
26
36
Rachel Smith Paper
53
16
Emma Maclean Paper
30
37
Iain Spink Paper
54
17
Jillian Mathews Paper
31
38
Neta Spiro et al Poster
55
18
Ruth Melhuish Paper
32
39
Gea van van Straaten Straaten Paper
56
19
Jeni Melia et al Paper
33
40
Giorgos Tsiris Tsiris et al Workshop
57
20
Clare Monckton Round table
34
41
Susan Wilson Paper
58
21
Jane Moulton et al Paper
38
42
Thomas Woodward Paper
59
Posters
Professor Helen Odell-Miller Chair of the Conference
5
60
Notes
61
Music Therapy and Dramatherapy at Anglia Ruskin University
66
Campus map
68
Conference Programme 4�6 September 2015
3
Welcome Dear Delegates I am delighted to welcome you to our conference Music Therapy and Dementia Care in the 21st Century. This is our seventh music t herapy conference at Anglia Ruskin University and this year we are pleased to be collaborating with MHA, a large organisation running residential homes and outreach work for older people, including those with dementia. Our partnership over a number of years has included clinical work and new research in music therapy and the conference coincides with the publication of our collaborative research in BMC Geriatrics, which Keynote Speaker Ming Hung Hsu will refer to in his presentation on Saturday morning. We are also grateful to The British Association for Music T herapy (BAMT) which has also generously supported the conference. The conference is also linked to a one day ICRA (International Centre for Research in the Arts Therapies) conference entitled: 'The Role of Arts Therapies in Dementia Care' so our focus is upon dementia re�lecting current needs in our communities across the world and emphasising the importance of all the arts therapies in improving the quality of life for people with dementia. We have people attending from all over the world and an especially warm welcome to those who have travelled many miles to attend. You will see from the programme that there is a rich and diverse range of Papers, Workshops, Round Tables and Keynote Lectures, and I hope you will �ind the whole experience stimulating and thought provoking. We are pleased to be expanding our research within the new Jerome Booth Music Therapy Centre; in the Department of Music and Performing Arts within the Faculty of Arts Law and Social Sciences; where we are hosting national and international research projects and training students. Thank you to all those who have made this conference possible; welcome to you all and I hope you will be inspired by new knowledge, new learning and new experiences.
Contents Programme
4
Acknowledgements
6
General Information
7
Keynote speakers
8
Papers, Round Tables & Workshops 1
Caroline Anderson et al Round table
12
22
Kathryn Nall et al Paper
39
2
Polly Bowler Paper
13
23
Wai Man Ng Paper
40
3
Mariëtte Broersen Paper
14
24
Alice Nicholls Paper
41
4
Joanna Burley Paper
15
25
David Nicholson Paper
42
5
Anke Coomans Paper
16
26
Elizabeth Nightingale Paper
43
6
Barbara Crowe Workshop
17
27
Josie Nugent Paper
44
7
Philippa Derrington et al Paper
18
28
Kerrie O'Connor Paper
45
8
Becky Dowson Paper
19
29
Sally A. Pestell Paper
46
9
Jörg Fachner et al Round table
20
30
Emma Phillipson Paper
47
10
Adrienne Freeman Paper
21
31
Cathy Richards Richards et al Paper
48
11
Jamal Jasani Glynn Paper
22
32
Marianne Rizkallah Paper
49
12
Karen Gold Paper
23
33
Ellie Ruddock Paper
50
13
Joy Gravestock Paper
24
34
Richard Sanderson Paper
51
14
Nicky Haire Haire et al Paper
25
35
Ann Sloboda Paper
52
15
Ming Hung Hsu et al Round table
26
36
Rachel Smith Paper
53
16
Emma Maclean Paper
30
37
Iain Spink Paper
54
17
Jillian Mathews Paper
31
38
Neta Spiro et al Poster
55
18
Ruth Melhuish Paper
32
39
Gea van van Straaten Straaten Paper
56
19
Jeni Melia et al Paper
33
40
Giorgos Tsiris Tsiris et al Workshop
57
20
Clare Monckton Round table
34
41
Susan Wilson Paper
58
21
Jane Moulton et al Paper
38
42
Thomas Woodward Paper
59
Posters
Professor Helen Odell-Miller Chair of the Conference
60
Notes
61
Music Therapy and Dramatherapy at Anglia Ruskin University
66
Campus map
68
Conference Programme 4�6 September 2015
Acknowledgements
General Information
Scientific Committee
Reception desk
Dr Helen Odell-Miller
A reception desk will be situated in the Helmore Lobby (“the Street”) Use main East Road entrance. This will be staffed at various times during the conference.
Professor of Music Therapy and Director of the Music for Health Research Centre, Anglia Ruskin University. Honorary Senior Music Therapist and Researcher, Cambridge and Peterborough Foundation Trust. Researcher and music therapist in adult psychiatry. Research in dementia with MHA and others, including parliamentary groups.
Delegate badges
3
Please wear your badges for the bene�it of others, for security purposes and to give you access to rooms and refreshments!
Dr Jörg Fachner Professor of Music Health and the Brain, Anglia Ruskin University. Specialist for translational issues of interdisciplinary research topics between medical, humanities and music sciences. Leading research which studies changes of neural correlates of consciousness (EEG) during music perception, and also applied to dementia.
Dr Thomas Wosch Professor, and Director of Master Music Th erapy, University of Wurzburg, Germany. Research, group assessment and microanalysis in music therapy. Specialist trainer in music therapy and dementia. Published widely in the �ield of music therapy internationally.
Dr Helen Loth Course Leader for MA Music Therapy and Jerome Booth Music Therapy Centre Manager. She has a special interest in multi-cultural improvisation and teaches Indonesian gamelan. Her current research investigates the relevance of Indonesian gamelan music to music therapy practice.
Eleanor Richards Senior Lecturer and Placement Co-ordinator on MA Music Therapy Course. Psychoanalytic Psychotherapist and supervisor, with particular interest in attachment theory. Researching and publishing on group music therapy, and working towards a Professional Doctorate in the Cambridge Theological Federation, investigating connections between Zen and psychoanalytic practice.
Organising Committee Ian Gorton Prof Helen Odell-Miller Liz Jones Grace Watts Sarah Faber Dr Helen Loth David Olivan James Lea Julia Fahrer Prof. Jörg Fachner Eleanor Richards Prof. Amelia Old�ield
Administrator and producer of the conference Chair of conference, scienti�ic committee, and overall organisation MHA Head of Policy and Research BAMT PR O�icer Proof reading, posters and general support Scienti�ic committee, programming, organising advice Student administrative assistant Student administrative assistant Student facing and theming Scienti�ic committee Entertainment and book stalls Student help co-ordinator, registration, book and instrumental stalls
Website Team Catering Team Design
Gareth Long and Elizabeth Ayris Emma Parrish Design & Delivery Network Design Cambridge Krisztián Hofstädter Department of Music and Performing Arts Technician
Technical support
Rereshments All served in LAB006 (see map on back cover) Tea, coffee and water – served at 9.00 Tea, coffee, water with fruit and mini pastries – served at 11.15 Buffet lunch, orange juice and water - served at 13.05 Tea, coffee, water and cake selection - served at 15:45 (with l unch on Sunday)
Conerence rooms Keynotes – LAB003 Parallel sessions: Ground �loor: LAB003 & the Recital Hall (see map on back cover) First �loor: LAB111/112/113 (up the stairs by the refreshments)
Assistance and technical support Ian and Krisztián are available at all times to provide technical support, if you need help �inalising or embedding video etc. please grab one of us or email us: t
[email protected] MA Music Therapy students will act as conference stewards and provide assistance and support.
Message Board For how to connect to the wi�i, and to sign up for workshops etc. go to the foyer outside main conference room: LAB003
Bookstall ino John Smith’s Bookshop will be in the foyer on Saturday Jessica Kingsley Publishers will have a stall in the foyer on Sunday
Exhibition stalls and posters Posters and interactive MHA displays are in with refreshments in LAB006 MHA, BAMT, Bookstalls, Instruments provided by Sounding Bowls & LMS Music Supplies will be in the foyer between Main conference room and refreshments/toilets
Local taxi Panther Taxi: 01223 715715
All student helpers from the MA Music Therapy and Dramatherapy course – thank you for your help! Entertainment: See separate programme for musicians and entertainers during the conference. Thanks to all!
6
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
7
Acknowledgements
General Information
Scientific Committee
Reception desk
Dr Helen Odell-Miller
A reception desk will be situated in the Helmore Lobby (“the Street”) Use main East Road entrance. This will be staffed at various times during the conference.
Professor of Music Therapy and Director of the Music for Health Research Centre, Anglia Ruskin University. Honorary Senior Music Therapist and Researcher, Cambridge and Peterborough Foundation Trust. Researcher and music therapist in adult psychiatry. Research in dementia with MHA and others, including parliamentary groups.
Delegate badges Please wear your badges for the bene�it of others, for security purposes and to give you access to rooms and refreshments!
Dr Jörg Fachner Professor of Music Health and the Brain, Anglia Ruskin University. Specialist for translational issues of interdisciplinary research topics between medical, humanities and music sciences. Leading research which studies changes of neural correlates of consciousness (EEG) during music perception, and also applied to dementia.
Dr Thomas Wosch Professor, and Director of Master Music Th erapy, University of Wurzburg, Germany. Research, group assessment and microanalysis in music therapy. Specialist trainer in music therapy and dementia. Published widely in the �ield of music therapy internationally.
All served in LAB006 (see map on back cover) Tea, coffee and water – served at 9.00 Tea, coffee, water with fruit and mini pastries – served at 11.15 Buffet lunch, orange juice and water - served at 13.05 Tea, coffee, water and cake selection - served at 15:45 (with l unch on Sunday)
Conerence rooms
Dr Helen Loth Course Leader for MA Music Therapy and Jerome Booth Music Therapy Centre Manager. She has a special interest in multi-cultural improvisation and teaches Indonesian gamelan. Her current research investigates the relevance of Indonesian gamelan music to music therapy practice.
Keynotes – LAB003 Parallel sessions: Ground �loor: LAB003 & the Recital Hall (see map on back cover) First �loor: LAB111/112/113 (up the stairs by the refreshments)
Assistance and technical support
Eleanor Richards Senior Lecturer and Placement Co-ordinator on MA Music Therapy Course. Psychoanalytic Psychotherapist and supervisor, with particular interest in attachment theory. Researching and publishing on group music therapy, and working towards a Professional Doctorate in the Cambridge Theological Federation, investigating connections between Zen and psychoanalytic practice.
Ian and Krisztián are available at all times to provide technical support, if you need help �inalising or embedding video etc. please grab one of us or email us: t
[email protected] MA Music Therapy students will act as conference stewards and provide assistance and support.
Message Board
Organising Committee
For how to connect to the wi�i, and to sign up for workshops etc. go to the foyer outside main conference room: LAB003
Ian Gorton Prof Helen Odell-Miller Liz Jones Grace Watts Sarah Faber Dr Helen Loth David Olivan James Lea Julia Fahrer Prof. Jörg Fachner Eleanor Richards Prof. Amelia Old�ield
Administrator and producer of the conference Chair of conference, scienti�ic committee, and overall organisation MHA Head of Policy and Research BAMT PR O�icer Proof reading, posters and general support Scienti�ic committee, programming, organising advice Student administrative assistant Student administrative assistant Student facing and theming Scienti�ic committee Entertainment and book stalls Student help co-ordinator, registration, book and instrumental stalls
Website Team Catering Team Design
Gareth Long and Elizabeth Ayris Emma Parrish Design & Delivery Network Design Cambridge Krisztián Hofstädter Department of Music and Performing Arts Technician
Technical support
Rereshments
Bookstall ino John Smith’s Bookshop will be in the foyer on Saturday Jessica Kingsley Publishers will have a stall in the foyer on Sunday
Exhibition stalls and posters Posters and interactive MHA displays are in with refreshments in LAB006 MHA, BAMT, Bookstalls, Instruments provided by Sounding Bowls & LMS Music Supplies will be in the foyer between Main conference room and refreshments/toilets
Local taxi Panther Taxi: 01223 715715
All student helpers from the MA Music Therapy and Dramatherapy course – thank you for your help! Entertainment: See separate programme for musicians and entertainers during the conference. Thanks to all!
6
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
7
Keynote speakers Saturday, 9:45am
Saturday, 10:30am
David Aldridge
Ming Hung Hsu
Music therapy practice and research; 25 years on
In pursuit o music therapy’s mechanisms in dementia care: emerging theories, research and caveat
The situation that we have today of an increasing elderly population, a proportion of whom have dementia, was signalled in the medical literature when we �irst started this work 25 years ago. Our original work was within an integrated medicine context of a community general hospital and a residential home for the elderly 1. Our �irst approach was to use musical improvisation as a form of assessment both cognitive and relational2.
Previous research highlights the potential effects of music therapy for managing neuropsychiatric symptoms of dementia. However, there is a relative paucity of research investigating the mechanisms of this intervention as to how the therapy works and how it relates to the context of patients’ health and care. The lack of this knowledge may pose challenges for practitioners to justify the clinical relevance of their role. It may further compromise the con�idence in commissioning music therapy services. The talk will trace back to a case study by Odell-Miller (2002) which generated insights into possible working mechanisms through a psychoanalytically informed approach. This work later catalysed the current PhD research employing a clinical trial and psychophysiological measures including heart rate variability and skin conductance to understand the therapy, drawing emerging theories from human affective neuroscience (Armony & Vuilleumir, 2013).
The bene�its of music therapy are that sessions can be tailored to meet the needs of individuals or groups, the promotion of dialogue between residents and residents and carers integrating persons with their surroundings and preventing isolation. We emphasise employing trained therapists offering clear clinical goals. Music therapy is also being used in end-oflife care 7. References
This approach was based on promoting performance and emphasising the residual capabilities of patients or residents whereby we encouraged the development of an increased repertoire of responses both in residents and carers. We called this an “ecosystemic perspective” 3,4 and included the stance that dementia is as much a dialogic-degenerative disease as much as it is a neurodegenerative process 5. Music therapy appeared to promote concentration on, and perseverance with, the task in hand and suggested that episodic memory could be tested in melodic improvisations. Importantly, this was a non-pharmacological intervention in a non-threatening context6.
1.
Aldridge, D. and Brandt, G. (1991). Music therapy and Alzheimer’s disease. Journal of British Music Therapy, 5, 2, 28�63.
2.
Aldridge, D. (1993). Musicand Alzheimer's disease -assessment and therapy: a discussion paper. Journal of the Royal Society of Medicine, 86, 93�95.
3.
Aldridge,D. (1998) Suicidal behaviour: An ecosystemic approach. PhD thesis, The Open University, Milton Keynes, England.
4.
Aldridge,D. (1998) Suicide: The tragedy of hopelessness. London: JessicaKingsley.
5.
Aldridge, D. (1996). Music therapy research and practice in medicine: From out of the silence. London: Jessica Kingsley.
6.
Aldridge,D. (2000) Music therapyin dementia care: More new voices. JessicaKingsley,London.
7.
Aldridge, D. (2011). Song as life is ending. Journal of Holistic Health Care, 8, 1, 41�44.
The recently published research (Hsu, Flowerdew, Parker and Fachner 2015) underlined the use of the therapist’s vocal, facial, bodily and musical expressions serving as emotional visual and auditory cues to modulate patients’ arousal level in the sessions. It hence illuminated the concept of emotion regulation (Gross, 2015) which might offer the key to managing patients’ symptoms both in therapy and in their day-to-day care. Additionally, the interviews with the care staff suggested an educational role for music therapists, enhancing multidisciplinary care planning and delivery. The talk will conclude with an overview of directions for future research pursuing the agents of change in this therapy. This also includes the use of wearable technology and psychophysiological assessments whilst exploring caveats in conducting research that does not translate into improving patients’ health and generates misunderstanding of music therapy. References Armony, J. & Vuilleumir, P. (Eds.). (2013). The Cambridge handbook of human affective neuroscience. New York: Cambridge University Press. Gross, J. J. (2015). Emotion regulation: Current status and future prospects. Psychological Inquiry, 26: 1�26. doi: 10.1080/1047840x.2014.940781. Hsu, M., Flowerdew, R., Parker, M., Fachner, J., & Odell-Miller, H. (2015). Individual music therapy for managing neuropsychiatric symptoms for people with dementia and their carers: A cluster randomised controlled feasibility study. BMC Geriatrics, 15:84 doi:10.1186/s12877�015�0082�4. Odell-Miller, H. (2002). Musical narratives in music therapy treatment for dementia. In L. Bunt and S. Hoskyns, (Eds.), The Handbook of Music Therapy. London: Routledge.
8
David Aldridge
Ming Hung Hsu
David specializes in developing research methods suitable or the creative arts. He has emphasized the importance o the “arts” in research
Ming Hung Hsu spent his undergraduate years exploring how children learn in primary education. He later developed a desire to understand
and this resulted in his specialised qualitative approach analysing therapeutic narratives. He has published extensively in the field o amily
how music therapy works which led him to the training in the UK. Afer qualiying rom Anglia Ruskin University, he pioneered music therapy
distress based on his original work on suicidal behaviour in amilies, spirituality and end o lie care si nce 1983. His paper Music and Alzheimer’s
in Methodist Homes, (now MHA), a not- or-profit care organisation or older adults and individuals living with dementia. Having worked
disease” appeared in the Journal o the Royal Society o Medicine in 1993, cumulating in an edited collection “Music therapy in dementia care”,
closely with services and marketing managers, he had opportunities to see music therapy rom other proessionals’ perspectives. This also
Jessica Kingsley 2000. His book, “Music therapy research and practice in medicine”, Jessica Kingsley Publishers, London was published in 1997.
enables him to value the use o non-music therapy language to communicate music therapy to people outside the proession. Ming is trained
This was ollowed by a series o books and papers about specialist subject matter in music therapy research and practice, including dementia
in Dementia Care Mapping and is ascinated by lie sciences. His PhD research supervised by Pro. Helen Odell-Miller and Pro. Jörg Fachner
care, traumatic brain injury and neurological rehabilitation. He is a Fellow o the Royal Society o Medicine, London.
has incorporated research findings o psychophysiology and neuroscience to explain the mechanics o music therapy in dementia care.
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
9
Keynote speakers Saturday, 9:45am
Saturday, 10:30am
David Aldridge
Ming Hung Hsu
Music therapy practice and research; 25 years on
In pursuit o music therapy’s mechanisms in dementia care: emerging theories, research and caveat
The situation that we have today of an increasing elderly population, a proportion of whom have dementia, was signalled in the medical literature when we �irst started this work 25 years ago. Our original work was within an integrated medicine context of a community general hospital and a residential home for the elderly 1. Our �irst approach was to use musical improvisation as a form of assessment both cognitive and relational2.
Previous research highlights the potential effects of music therapy for managing neuropsychiatric symptoms of dementia. However, there is a relative paucity of research investigating the mechanisms of this intervention as to how the therapy works and how it relates to the context of patients’ health and care. The lack of this knowledge may pose challenges for practitioners to justify the clinical relevance of their role. It may further compromise the con�idence in commissioning music therapy services. The talk will trace back to a case study by Odell-Miller (2002) which generated insights into possible working mechanisms through a psychoanalytically informed approach. This work later catalysed the current PhD research employing a clinical trial and psychophysiological measures including heart rate variability and skin conductance to understand the therapy, drawing emerging theories from human affective neuroscience (Armony & Vuilleumir, 2013).
The bene�its of music therapy are that sessions can be tailored to meet the needs of individuals or groups, the promotion of dialogue between residents and residents and carers integrating persons with their surroundings and preventing isolation. We emphasise employing trained therapists offering clear clinical goals. Music therapy is also being used in end-oflife care 7. References
This approach was based on promoting performance and emphasising the residual capabilities of patients or residents whereby we encouraged the development of an increased repertoire of responses both in residents and carers. We called this an “ecosystemic perspective” 3,4 and included the stance that dementia is as much a dialogic-degenerative disease as much as it is a neurodegenerative process 5. Music therapy appeared to promote concentration on, and perseverance with, the task in hand and suggested that episodic memory could be tested in melodic improvisations. Importantly, this was a non-pharmacological intervention in a non-threatening context6.
1.
Aldridge, D. and Brandt, G. (1991). Music therapy and Alzheimer’s disease. Journal of British Music Therapy, 5, 2, 28�63.
2.
Aldridge, D. (1993). Musicand Alzheimer's disease -assessment and therapy: a discussion paper. Journal of the Royal Society of Medicine, 86, 93�95.
3.
Aldridge,D. (1998) Suicidal behaviour: An ecosystemic approach. PhD thesis, The Open University, Milton Keynes, England.
4.
Aldridge,D. (1998) Suicide: The tragedy of hopelessness. London: JessicaKingsley.
5.
Aldridge, D. (1996). Music therapy research and practice in medicine: From out of the silence. London: Jessica Kingsley.
6.
Aldridge,D. (2000) Music therapyin dementia care: More new voices. JessicaKingsley,London.
7.
Aldridge, D. (2011). Song as life is ending. Journal of Holistic Health Care, 8, 1, 41�44.
The recently published research (Hsu, Flowerdew, Parker and Fachner 2015) underlined the use of the therapist’s vocal, facial, bodily and musical expressions serving as emotional visual and auditory cues to modulate patients’ arousal level in the sessions. It hence illuminated the concept of emotion regulation (Gross, 2015) which might offer the key to managing patients’ symptoms both in therapy and in their day-to-day care. Additionally, the interviews with the care staff suggested an educational role for music therapists, enhancing multidisciplinary care planning and delivery. The talk will conclude with an overview of directions for future research pursuing the agents of change in this therapy. This also includes the use of wearable technology and psychophysiological assessments whilst exploring caveats in conducting research that does not translate into improving patients’ health and generates misunderstanding of music therapy. References Armony, J. & Vuilleumir, P. (Eds.). (2013). The Cambridge handbook of human affective neuroscience. New York: Cambridge University Press. Gross, J. J. (2015). Emotion regulation: Current status and future prospects. Psychological Inquiry, 26: 1�26. doi: 10.1080/1047840x.2014.940781. Hsu, M., Flowerdew, R., Parker, M., Fachner, J., & Odell-Miller, H. (2015). Individual music therapy for managing neuropsychiatric symptoms for people with dementia and their carers: A cluster randomised controlled feasibility study. BMC Geriatrics, 15:84 doi:10.1186/s12877�015�0082�4. Odell-Miller, H. (2002). Musical narratives in music therapy treatment for dementia. In L. Bunt and S. Hoskyns, (Eds.), The Handbook of Music Therapy. London: Routledge.
David Aldridge
Ming Hung Hsu
David specializes in developing research methods suitable or the creative arts. He has emphasized the importance o the “arts” in research
Ming Hung Hsu spent his undergraduate years exploring how children learn in primary education. He later developed a desire to understand
and this resulted in his specialised qualitative approach analysing therapeutic narratives. He has published extensively in the field o amily
how music therapy works which led him to the training in the UK. Afer qualiying rom Anglia Ruskin University, he pioneered music therapy
distress based on his original work on suicidal behaviour in amilies, spirituality and end o lie care si nce 1983. His paper Music and Alzheimer’s
in Methodist Homes, (now MHA), a not- or-profit care organisation or older adults and individuals living with dementia. Having worked
disease” appeared in the Journal o the Royal Society o Medicine in 1993, cumulating in an edited collection “Music therapy in dementia care”,
closely with services and marketing managers, he had opportunities to see music therapy rom other proessionals’ perspectives. This also
Jessica Kingsley 2000. His book, “Music therapy research and practice in medicine”, Jessica Kingsley Publishers, London was published in 1997.
enables him to value the use o non-music therapy language to communicate music therapy to people outside the proession. Ming is trained
This was ollowed by a series o books and papers about specialist subject matter in music therapy research and practice, including dementia
in Dementia Care Mapping and is ascinated by lie sciences. His PhD research supervised by Pro. Helen Odell-Miller and Pro. Jörg Fachner
care, traumatic brain injury and neurological rehabilitation. He is a Fellow o the Royal Society o Medicine, London.
has incorporated research findings o psychophysiology and neuroscience to explain the mechanics o music therapy in dementia care.
Music Therapy and Dementia Care in the 21st Century
8
Conference Programme 4�6 September 2015
9
Keynote speakers Sunday, 9:35am
Sunday, 10.20am
Hanne Mette Ridder
Orii McDermott
The singing nurse?! Music therapy, interdisciplinarity and an overview o research in psychosocial interventions
Measuring the "unmeasurable"? Challenges o translating clinically meaningul moments in health research and communicating these moments with non-music therapists
Dementia is one of the major causes of disability and dependency among older people, with agitation in dementia as the most signi�icant symptom causing patient distress and caregiver burden in later stages of the disease. Music in various forms (e.g. caregiver singing or music listening) is widely used in nursing homes for people with dementia; however these practices are generally little informed by music therapy theory and research. In this presentation, an overview of research in non- pharmacological approaches is given, and music therapy is described as an effective psychosocial intervention for reducing agitation in persons with dementia.
be carried out as direct practice (Bunt & Stige, 2014) but also as indirect music therapy practice.
I will shortly refer to an exploratory RCT where we found that 6 weeks of biweekly music therapy sessions reduced agitation disruptiveness as well as the prescription of psychotropic medication (Ridder et al., 2013). The music therapy practice in this study was informed by a psychosocial model of care (see McDermott et al., 2014). From this, I will further discuss how music therapy research may inform the culture of care for persons with dementia and how music therapy should not only
References
Indirect practice is suggested to play an important role in future culture of care in nursing homes with the music therapist as a key ‘actor’ in implementing music interventions in daily care situations, e.g. in dyads with caregivers or relatives and the person with dementia. The aim is to provide and develop psychosocial interventions in the interdisciplinary team, and to support staff and caregivers in their use of music as part of the daily culture of care.
Bunt, L. & Stige, B. (2014). Music therapy. An art beyond words (2nd ed.). London:Routledge. McDermott, O, Orrell, M. & Ridder, H.M. (2014). The importance of music for people with dementia: the perspectives of people with dementia, family carers, staff and music therapists, Aging & Mental Health, 18(6), 706�716. Ridder, H.M., Stige, B., Qvale, L.-G. & Gold, C. (2013). Individual Music Therapy for Agitation in dementia: an exploratory RCT. Aging & Mental Health, 17(6), 667�678.
A client reaching out for an instrument for the �irst time, a client beginning to engage in a tentative vocal exchange with a therapist. These are the moments any clinicians will recognise as a sign of therapeutic growth of a client. The importance of these actions may not be so obvious to others, but these moments are often the beginning of therapeutic changes that the client becomes more aware of, and that the therapist builds the next steps upon. The majority of quantitative studies in health research focus on their outcomes, not their process. Changes following an intervention are usually evaluated using validated outcome measures. Outcome-based research has its advantages. However, clinically meaningful moments that are unique to individuals are not easily quanti�iable, particularly when the changes are so subtle due to the progression of dementia.
Music therapists are often asked to show ‘how music therapy works’. Communicating these individual, clinically meaningful moments with multi-disciplinary team members or with our funders is not always straightforward. ‘Evidence-based practice’ often demands changes shown in numbers. Moreover, what people with dementia themselves may value when they attend music therapy and other psychosocial interventions are not always taken into account in health research. Without being over-pessimistic, this presentation aims to outline some of the challenges music therapy clinicians and researchers face when communicating these clinically meaningful moments. The presentation also suggests some of the possible solutions to these challenges and highlights the areas that need further development in practice and in dementia research.
Hanne Mette Ridder
Orii McDermott
Hanne Mette Ridder is Proessor and Head o the Doctoral Programme in Music Therapy at Aalborg University, and president o the European
Orii McDermott, PhD, is a Music Therapist and works or Central and North West London NHS Foundation Trust, UK. She is a Senior Fellow at
Music Therapy Conederation (EMTC). She has a MA in music therapy, is a certified clinical music therapy supervisor, and received her PhD
the Institute o Mental Health, Nottingham, specializing in psychosocial interventions in dementia. Orii has developed and evaluated MiDAS
rom Aalborg University in 2003. Her research has ocus on music therapy in gerontology and dementia care, as well as on the integration
(Music in Dementia Asse ssment Scales) as part o her doctoral study at the Doctoral Programme in Music Therapy, Aalborg University. She
o qualitative and quantitative research in mixed methods research designs. She has presented widely at international conerences and
is a member o INTERDEM (Early detection and timely INTERvention in DEMentia).
lectured at a large number o music therapy training courses. She serves at advisory editorial boards or The Nordic Journal o Music Therapy, Approaches and Music & Medicine and has authored and co-authored many book chapters and reereed journal articles.
10
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
11
Keynote speakers Sunday, 9:35am
Sunday, 10.20am
Hanne Mette Ridder
Orii McDermott
The singing nurse?! Music therapy, interdisciplinarity and an overview o research in psychosocial interventions
Measuring the "unmeasurable"? Challenges o translating clinically meaningul moments in health research and communicating these moments with non-music therapists
Dementia is one of the major causes of disability and dependency among older people, with agitation in dementia as the most signi�icant symptom causing patient distress and caregiver burden in later stages of the disease. Music in various forms (e.g. caregiver singing or music listening) is widely used in nursing homes for people with dementia; however these practices are generally little informed by music therapy theory and research. In this presentation, an overview of research in non- pharmacological approaches is given, and music therapy is described as an effective psychosocial intervention for reducing agitation in persons with dementia.
be carried out as direct practice (Bunt & Stige, 2014) but also as indirect music therapy practice.
I will shortly refer to an exploratory RCT where we found that 6 weeks of biweekly music therapy sessions reduced agitation disruptiveness as well as the prescription of psychotropic medication (Ridder et al., 2013). The music therapy practice in this study was informed by a psychosocial model of care (see McDermott et al., 2014). From this, I will further discuss how music therapy research may inform the culture of care for persons with dementia and how music therapy should not only
References
Indirect practice is suggested to play an important role in future culture of care in nursing homes with the music therapist as a key ‘actor’ in implementing music interventions in daily care situations, e.g. in dyads with caregivers or relatives and the person with dementia. The aim is to provide and develop psychosocial interventions in the interdisciplinary team, and to support staff and caregivers in their use of music as part of the daily culture of care.
Bunt, L. & Stige, B. (2014). Music therapy. An art beyond words (2nd ed.). London:Routledge. McDermott, O, Orrell, M. & Ridder, H.M. (2014). The importance of music for people with dementia: the perspectives of people with dementia, family carers, staff and music therapists, Aging & Mental Health, 18(6), 706�716. Ridder, H.M., Stige, B., Qvale, L.-G. & Gold, C. (2013). Individual Music Therapy for Agitation in dementia: an exploratory RCT. Aging & Mental Health, 17(6), 667�678.
A client reaching out for an instrument for the �irst time, a client beginning to engage in a tentative vocal exchange with a therapist. These are the moments any clinicians will recognise as a sign of therapeutic growth of a client. The importance of these actions may not be so obvious to others, but these moments are often the beginning of therapeutic changes that the client becomes more aware of, and that the therapist builds the next steps upon. The majority of quantitative studies in health research focus on their outcomes, not their process. Changes following an intervention are usually evaluated using validated outcome measures. Outcome-based research has its advantages. However, clinically meaningful moments that are unique to individuals are not easily quanti�iable, particularly when the changes are so subtle due to the progression of dementia.
Music therapists are often asked to show ‘how music therapy works’. Communicating these individual, clinically meaningful moments with multi-disciplinary team members or with our funders is not always straightforward. ‘Evidence-based practice’ often demands changes shown in numbers. Moreover, what people with dementia themselves may value when they attend music therapy and other psychosocial interventions are not always taken into account in health research. Without being over-pessimistic, this presentation aims to outline some of the challenges music therapy clinicians and researchers face when communicating these clinically meaningful moments. The presentation also suggests some of the possible solutions to these challenges and highlights the areas that need further development in practice and in dementia research.
Hanne Mette Ridder
Orii McDermott
Hanne Mette Ridder is Proessor and Head o the Doctoral Programme in Music Therapy at Aalborg University, and president o the European
Orii McDermott, PhD, is a Music Therapist and works or Central and North West London NHS Foundation Trust, UK. She is a Senior Fellow at
Music Therapy Conederation (EMTC). She has a MA in music therapy, is a certified clinical music therapy supervisor, and received her PhD
the Institute o Mental Health, Nottingham, specializing in psychosocial interventions in dementia. Orii has developed and evaluated MiDAS
rom Aalborg University in 2003. Her research has ocus on music therapy in gerontology and dementia care, as well as on the integration
(Music in Dementia Asse ssment Scales) as part o her doctoral study at the Doctoral Programme in Music Therapy, Aalborg University. She
o qualitative and quantitative research in mixed methods research designs. She has presented widely at international conerences and
is a member o INTERDEM (Early detection and timely INTERvention in DEMentia).
lectured at a large number o music therapy training courses. She serves at advisory editorial boards or The Nordic Journal o Music Therapy, Approaches and Music & Medicine and has authored and co-authored many book chapters and reereed journal articles.
10
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
Round table Speakers
Paper
1 Caroline Anderson (Chair), Ming Hung Hsu, Helen Odell-Miller, Alexia Quin, & Renata Bohacikova
2 Polly Bowler
What is the relevance o skill-sharing to music therapists working in the field o dementia care?
Using Kitwood to explore the use o pre-composed music, improvisation and the 'in-between' in music therapy with people with dementia
The British Association for Music Therapy has 132 music therapists registered as working with elderly people. The Alzheimer’s Society forecasts that by 2025 there will be one million people living with dementia in the UK. However you look at these �igures, it is clearly not going to be possible for music therapists to reach everyone living with dementia, yet there is a growing evidence base to support its relevance to their care. Inspections of care staff by the Care Quality Commission and Mental Welfare Commission for Scotland have found holistic and compassionate care to be lacking. Experience shows there may be elements that can be drawn from music therapy which can support those involved in the day to day care of people living with dementia; both family members and other carers. What skills should music therapists be taking beyond the clinical room and sharing with others?
Abstract: Music is the fundamental tool that facilitates our practice as therapists. Often in music therapy, the focus is on the importance of improvisation. However, there is limited knowledge surrounding the most effective use of music in sessions with people with dementia (Spiro, 2010). The NICE guidelines for dementia care reference Kitwood’s personcentred care approach. By exploring the relationship of music to two major theories put forward by Kitwood (1997) - the “psychological needs” and “positive person work” - further understanding of our clinical practice could be generated, enabling clinicians to better explain their work outside of our profession.
This panel brings a range of experience to the debate. Helen Odell-Miller will discuss examples of music therapists sharing practical and theoretical skills which have impacted on the care provided for people with dementia. Alexia Quin will re�lect on lessons learned from using music therapy skill-sharing to re-engage care staff with children and adults from whom they have withdrawn. In order to improve quality of care, Ming Hung Hsu will discuss the needs of music therapists’ neuropsychological knowledge-sharing in addition to music therapy sharing. Renata Bohacikova will discuss her experience of how music therapy skill-sharing has informed her practice.
Caroline Anderson Caroline Anderson is the UK Research and Development Officer or Music as Therapy International and a member o their Advisory Panel. She is a practicing music therapist and first got to know the charity through volunteering with their Rwanda project, o which she is a member o the steering group. She is also undertaking doctoral research in music therapy and culture at AngliaRuskin University.
Alexia Quin Alexia Quin is the director o Music as Therapy International
This paper will use video analysis of three identi�ied categories of music used in sessions: pre-composed music, improvisation and the ‘in-between’. The author will consider Pinker’s concept of the mental faculties “tickled” by musi c (Pinker, 1997, pp. 534�538): language, auditory scene analysis, emotional calls, habitat selection and motor control. The main analysis will employ the twelve types of interaction from Kitwood’s (1997) positive person work to explain and examine the video excerpts
11
demonstrating the three categories mentioned above. This paper will aim to highlight the equal validity of these three musical categories in our work with this client group. The presentation can be seen as a pre-curser to further research testing these categories alongside accepted thinking in dementia care in the UK. A deeper understanding of our work allows us to meet the individualised needs of the people that we work with, a true facet of person-centred care. References Kitwood, T. (1997). Dementia Reconsidered. Maidenhead: Open University Press. Pinker, S. (1997). How the mind works. London: Penguin books. Spiro, N. (2010). Music and Dementia: Observing effects and searching for underlying theories. Ageing and Mental Health, 14(8), 891�899.
which has been providing music therapy skill-sharing projects to local care staff working with vulnerable children and adults or the past twenty years. The charity’s roots lie in the orphanages o Romania, but its work now extends to our continents. Alongside
Ming Hung Hsu
this role, Alexia worked or fifeen years as a music therapist in a secondary school or children with severe learning dis abilities
Ming Hung Hsu is lead Music Therapist at MHA and is
or Oxleas Foundation Trust. She is currently on a career break
undertaking PhD research at Anglia Ruskin University into music
to give more time to Music as Therapy International, with a
therapy and dementia.
particular ocus on its UK activities.
Helen Odell-Miller
Renata Bohacikova
is Proessor o Music Therapy and Director o the Music or Health
Renata Bohacikova originates rom Czech Republic. She studied
Drama in 2011. She has been working with people with dementia with Methodist Homes (MHA) since January, 2012. A keen member o the
Research Centre. In 1994 she co-ounded the first MA Music
history o literature and journalism at the University o Pardubice
BAMT dementia network, she also helped to promote the 2014 conerence. Polly sings and plays cello and sax in a wide range o groups
Therapy course in the UK at Anglia Ruskin University. Helen is
City. Afer completing a bachelor’s degree, she spent 6 months
including olk collective Tribe o Tinkers, and 90’s cover band The Cardigan Pimps. She perorms occasionally with orchestral ensembles and
currently an Advisory Board Member or international music
in France at the University o Francois Rabelais, pursuing a
has led choir and olk music workshops in schools and at estivals.
therapy organisations. Other collaborations include work with
postgraduate study in gender studies and history o women in
the International Consortium or Music Therapy Research and
literature. Renata immigrated to the UK in 2010. She has since
with Methodist Homes (MHA), and Ming Hsu working on new
been working in dementia care settings. She is Care Manager or
dementia research in music therapy. She is currently working
The Homestead Care Home in Carterton, Oxordshire and was
with Parliamentary groups on music therapy and dementia and
involved in the music therapy clinical trial study, carried out in
other research profile raising or music therapy.
Methodist Homes (MHA).
Polly Bowler Polly trained classically on cello at Trinity Ccollege o Music. She completed her Masters in Music Therapy at Guildhall School o Music and
12
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
13
Round table Speakers
Paper
1 Caroline Anderson (Chair), Ming Hung Hsu, Helen Odell-Miller, Alexia Quin, & Renata Bohacikova
2 Polly Bowler
What is the relevance o skill-sharing to music therapists working in the field o dementia care?
Using Kitwood to explore the use o pre-composed music, improvisation and the 'in-between' in music therapy with people with dementia
The British Association for Music Therapy has 132 music therapists registered as working with elderly people. The Alzheimer’s Society forecasts that by 2025 there will be one million people living with dementia in the UK. However you look at these �igures, it is clearly not going to be possible for music therapists to reach everyone living with dementia, yet there is a growing evidence base to support its relevance to their care. Inspections of care staff by the Care Quality Commission and Mental Welfare Commission for Scotland have found holistic and compassionate care to be lacking. Experience shows there may be elements that can be drawn from music therapy which can support those involved in the day to day care of people living with dementia; both family members and other carers. What skills should music therapists be taking beyond the clinical room and sharing with others?
Abstract: Music is the fundamental tool that facilitates our practice as therapists. Often in music therapy, the focus is on the importance of improvisation. However, there is limited knowledge surrounding the most effective use of music in sessions with people with dementia (Spiro, 2010). The NICE guidelines for dementia care reference Kitwood’s personcentred care approach. By exploring the relationship of music to two major theories put forward by Kitwood (1997) - the “psychological needs” and “positive person work” - further understanding of our clinical practice could be generated, enabling clinicians to better explain their work outside of our profession.
This panel brings a range of experience to the debate. Helen Odell-Miller will discuss examples of music therapists sharing practical and theoretical skills which have impacted on the care provided for people with dementia. Alexia Quin will re�lect on lessons learned from using music therapy skill-sharing to re-engage care staff with children and adults from whom they have withdrawn. In order to improve quality of care, Ming Hung Hsu will discuss the needs of music therapists’ neuropsychological knowledge-sharing in addition to music therapy sharing. Renata Bohacikova will discuss her experience of how music therapy skill-sharing has informed her practice.
Caroline Anderson Caroline Anderson is the UK Research and Development Officer or Music as Therapy International and a member o their Advisory Panel. She is a practicing music therapist and first got to know the charity through volunteering with their Rwanda project, o which she is a member o the steering group. She is also undertaking doctoral research in music therapy and culture at AngliaRuskin University.
Alexia Quin Alexia Quin is the director o Music as Therapy International
This paper will use video analysis of three identi�ied categories of music used in sessions: pre-composed music, improvisation and the ‘in-between’. The author will consider Pinker’s concept of the mental faculties “tickled” by musi c (Pinker, 1997, pp. 534�538): language, auditory scene analysis, emotional calls, habitat selection and motor control. The main analysis will employ the twelve types of interaction from Kitwood’s (1997) positive person work to explain and examine the video excerpts
demonstrating the three categories mentioned above. This paper will aim to highlight the equal validity of these three musical categories in our work with this client group. The presentation can be seen as a pre-curser to further research testing these categories alongside accepted thinking in dementia care in the UK. A deeper understanding of our work allows us to meet the individualised needs of the people that we work with, a true facet of person-centred care. References Kitwood, T. (1997). Dementia Reconsidered. Maidenhead: Open University Press. Pinker, S. (1997). How the mind works. London: Penguin books. Spiro, N. (2010). Music and Dementia: Observing effects and searching for underlying theories. Ageing and Mental Health, 14(8), 891�899.
which has been providing music therapy skill-sharing projects to local care staff working with vulnerable children and adults or the past twenty years. The charity’s roots lie in the orphanages o Romania, but its work now extends to our continents. Alongside
Ming Hung Hsu
this role, Alexia worked or fifeen years as a music therapist in a secondary school or children with severe learning dis abilities
Ming Hung Hsu is lead Music Therapist at MHA and is
or Oxleas Foundation Trust. She is currently on a career break
undertaking PhD research at Anglia Ruskin University into music
to give more time to Music as Therapy International, with a
therapy and dementia.
particular ocus on its UK activities.
Helen Odell-Miller
Renata Bohacikova
is Proessor o Music Therapy and Director o the Music or Health
Renata Bohacikova originates rom Czech Republic. She studied
Drama in 2011. She has been working with people with dementia with Methodist Homes (MHA) since January, 2012. A keen member o the
Research Centre. In 1994 she co-ounded the first MA Music
history o literature and journalism at the University o Pardubice
BAMT dementia network, she also helped to promote the 2014 conerence. Polly sings and plays cello and sax in a wide range o groups
Therapy course in the UK at Anglia Ruskin University. Helen is
City. Afer completing a bachelor’s degree, she spent 6 months
including olk collective Tribe o Tinkers, and 90’s cover band The Cardigan Pimps. She perorms occasionally with orchestral ensembles and
currently an Advisory Board Member or international music
in France at the University o Francois Rabelais, pursuing a
has led choir and olk music workshops in schools and at estivals.
therapy organisations. Other collaborations include work with
postgraduate study in gender studies and history o women in
Polly Bowler Polly trained classically on cello at Trinity Ccollege o Music. She completed her Masters in Music Therapy at Guildhall School o Music and
the International Consortium or Music Therapy Research and
literature. Renata immigrated to the UK in 2010. She has since
with Methodist Homes (MHA), and Ming Hsu working on new
been working in dementia care settings. She is Care Manager or
dementia research in music therapy. She is currently working
The Homestead Care Home in Carterton, Oxordshire and was
with Parliamentary groups on music therapy and dementia and
involved in the music therapy clinical trial study, carried out in
other research profile raising or music therapy.
Methodist Homes (MHA).
12
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
13
Papers 3 Mariëtte Broersen
4 Joanna Burley
Individual music therapy and symptoms o depression in dementia
Seeking Connection: the significance o Gilbert & Sullivan in delivering person-centred dementia care
Abstract: Mood problems occur in the vast majority of people with dementia. These problems can be differentiated into apathy, depression and anxiety. The prevalence of diagnosed depression in a sample of people with dementia in nursing homes in The Netherlands is 19% (Verkaik et al., 2009). This is considerably higher than the prevalence of depression in the elderly without dementia, which is 2% (Trimbos, 2008). It is likely that the prevalence of depressive symptoms in people with dementia in the nursing home without formally diagnosed depression lies above the rate of 19%. In nursing home s, 30% of nursing staff report feeling powerless regularly in caring for people with dementia who are depressed (Kerkstra et al., 1999).
Abstract: The issue of improvisation versus pre-composed music is often discussed in relation to delivering music therapy to clients with dementia. This case study presentation demonstrates the impact of �inding a music genre which connects with early memories and is able to re-establish connection with a client who has Alzheimer's and has suffered a recent bereavement. The Music for Life Project funded by the UK Research Councils' New Dynamics of Ageing noted that 'choice of repertoire was particularly important as participants preferred music that was relevant to their life histories' (ISM Music Journal, September/ October, 2014, p.15). This presents a challenge for every music therapist seeking to engage and connect with their clients, especially in dementia care.
The presentation will focus upon active individual music therapy in the treatment of depressive symptoms in dementia. Methodology and theoretical backgrounds will be given from a morphologic angle. A short case description is given to illustrate methods and effects. Further, a repeated combination of measurement of symptoms of depression and an assessment of musical parameters (e.g. melod y, rhythm, harmony, timbre) during the course of the music therapeutic process is proposed. Building a collection of data on this combination could generate speci�ic music therapeutic knowledge on this topic. The need of this speci�ic knowledge to further develop music therapy practice and theory is emphasized.
The work of Tom Kitwood during the 1990s brought a whole new perspective to the culture of dementia care. In his book 'Dementia Reconsidered', Kitwood suggests that the 'new culture brings into focus the uniqueness of each person' and is 'committed to engaging with psychological need'. In this presentation, the music therapist explores Kitwood's model of psychological needs for those with dementia and demonstrates how this model has informed her thinking as she sought connection with a client using the music of Gilbert & Sullivan. References Kitwood, T. (1997a) Dementia reconsidered: The Person Comes First. Buckingham: Open University Press. Hallam, S. (2011) Music for Life Project.
Mariëtte Broersen
Joanna Burley
Mariëtte Broersen studied Musicology at the University o Amsterdam, where she graduated in 1993 with a l iterature study on music therapy
Joanna Burley qualified as a Music Therapist in 2009 afer a successul teaching career. She trained at the Guildhall School o Music and Drama
with Alzheimer's patients. Since 1995, she has worked as a music therapist in nursing homes, since 2004 or Amstelring, Amsterdam. She has
and now works in private practice rom her studio in West London. Alongside her work with young people on the Autistic Spectrum, she is
published with other music therapists, in: Caregiving in Dementia, the Dutch Handboek Muziektherapie and recently in the Dutch T ijdschrif
also passionate about the needs o older adults, especially those with dementia. She perorms regularly with various orchestras and wind
voor Ouderengeneeskunde. In 2013, she completed a Master o Arts Therapies at Zuyd Hogeschool, The Netherlands.
ensembles as a bassoonist and also enjoys accompanying soloists and choirs as a pianist.
14
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
15
Papers 3 Mariëtte Broersen
4 Joanna Burley
Individual music therapy and symptoms o depression in dementia
Seeking Connection: the significance o Gilbert & Sullivan in delivering person-centred dementia care
Abstract: Mood problems occur in the vast majority of people with dementia. These problems can be differentiated into apathy, depression and anxiety. The prevalence of diagnosed depression in a sample of people with dementia in nursing homes in The Netherlands is 19% (Verkaik et al., 2009). This is considerably higher than the prevalence of depression in the elderly without dementia, which is 2% (Trimbos, 2008). It is likely that the prevalence of depressive symptoms in people with dementia in the nursing home without formally diagnosed depression lies above the rate of 19%. In nursing home s, 30% of nursing staff report feeling powerless regularly in caring for people with dementia who are depressed (Kerkstra et al., 1999).
Abstract: The issue of improvisation versus pre-composed music is often discussed in relation to delivering music therapy to clients with dementia. This case study presentation demonstrates the impact of �inding a music genre which connects with early memories and is able to re-establish connection with a client who has Alzheimer's and has suffered a recent bereavement. The Music for Life Project funded by the UK Research Councils' New Dynamics of Ageing noted that 'choice of repertoire was particularly important as participants preferred music that was relevant to their life histories' (ISM Music Journal, September/ October, 2014, p.15). This presents a challenge for every music therapist seeking to engage and connect with their clients, especially in dementia care.
The presentation will focus upon active individual music therapy in the treatment of depressive symptoms in dementia. Methodology and theoretical backgrounds will be given from a morphologic angle. A short case description is given to illustrate methods and effects. Further, a repeated combination of measurement of symptoms of depression and an assessment of musical parameters (e.g. melod y, rhythm, harmony, timbre) during the course of the music therapeutic process is proposed. Building a collection of data on this combination could generate speci�ic music therapeutic knowledge on this topic. The need of this speci�ic knowledge to further develop music therapy practice and theory is emphasized.
The work of Tom Kitwood during the 1990s brought a whole new perspective to the culture of dementia care. In his book 'Dementia Reconsidered', Kitwood suggests that the 'new culture brings into focus the uniqueness of each person' and is 'committed to engaging with psychological need'. In this presentation, the music therapist explores Kitwood's model of psychological needs for those with dementia and demonstrates how this model has informed her thinking as she sought connection with a client using the music of Gilbert & Sullivan. References Kitwood, T. (1997a) Dementia reconsidered: The Person Comes First. Buckingham: Open University Press. Hallam, S. (2011) Music for Life Project.
Mariëtte Broersen
Joanna Burley
Mariëtte Broersen studied Musicology at the University o Amsterdam, where she graduated in 1993 with a l iterature study on music therapy
Joanna Burley qualified as a Music Therapist in 2009 afer a successul teaching career. She trained at the Guildhall School o Music and Drama
with Alzheimer's patients. Since 1995, she has worked as a music therapist in nursing homes, since 2004 or Amstelring, Amsterdam. She has
and now works in private practice rom her studio in West London. Alongside her work with young people on the Autistic Spectrum, she is
published with other music therapists, in: Caregiving in Dementia, the Dutch Handboek Muziektherapie and recently in the Dutch T ijdschrif
also passionate about the needs o older adults, especially those with dementia. She perorms regularly with various orchestras and wind
voor Ouderengeneeskunde. In 2013, she completed a Master o Arts Therapies at Zuyd Hogeschool, The Netherlands.
ensembles as a bassoonist and also enjoys accompanying soloists and choirs as a pianist.
14
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
Paper
Workshop
5 Anke Coomans
6 Barbara Crowe
'Moments o resonance' in musical improvisation with people in a severe stage o dementia. An explorative multiple case study research
Group drumming and rhythmic experiences or older adults: An instructional workshop
Abstract: People in late stage dementia often show signs of anxiety and distress. Due to cognitive impairments, they lack the ability to express their emotions and needs in a way that is understandable to their family and/or caregivers. This lecture presents a study that aims to explore how musical improvisation in music therapy with people with dementia can lead to occurrences of essential moments of meeting on a nonverbal, musical level. In a multiple case study (n=4) approach, data consist of written clinical notes from the music therapist and video-recordings of individual music therapy sessions.
Each case study comprises an in-depth analysis that leads to a selection of essential moments of meeting between the patient and therapist. The selection as well as the analysis happens by means of a clinical research intervision group and is based on an interpretive phenomenological approach. Some preliminary conclusions of the study will be presented. They will show how musical improvisation can be used as a speci�ic intervention and how certain musical elements, such as timbre, tempo, silence, and phrasing, can play a crucial role in the occurrence of what is de�ined as ‘moments of resonance’.
Abstract: The purpose of this workshop is to teach individuals working with people with dementia rhythm and drumming-based musical experiences for use with their dementia patients and to articulate the goals that can be achieved with such experiences. Compelling research has shown that rhythm and drumming experiences are highly bene�icial for people with dementia and foster positive outcomes for them. In this workshop, participants will learn the uses and values of rhythm and drumming-based experiences for older adults with dementia. Goals to be achieved with these experiences will be articulated and demonstrated.
15
Speci�ic rhythm and drumming activities will be introduced through participant engagement in the various activities. These include, but are not limited to: rhythmic name improvisation, rhythmic word percussion playing, tandem drumming, pass the egg shaker, modi�ied drum circle, rhythmic echo, and rhythmic entrainment. The connection between the activities and the goals to be achieved will be articulated. The workshop outline will be as follows: •
Introduction to rhythm and drumming activity interventions for adults with dementia;
These goals include:
•
Bene�icial outcomes of such activities;
1
•
Participant engagement in various rhythm and drumming techniques to be used with people with dementia;
•
Questions and group discussion.
increased reality orientation and attention to task;
2 promotion of social interaction and group experiences; 3 decreased agitation; 4 muscle usage to promote improved muscle tone and range of motion; 5 improved quality of life; 6 re-emergence of cognitive functioning and aspects of personality, and 7 facilitating interaction between the patient with dementia and their family members.
Anke Coomans
Barbara Crowe
Anke Coomans is MA Music Therapist at the University Psychiatric Center KU Leuven, campus Kortenberg, Belgium, where she works on the
Emeritus Proessor Barbara J. Crowe retired this May as Director o Music Therapy at Arizona State University in Tempe, AZ USA afer 34 years
psycho-geriatric units. Beyond her clinical work, she is also an assi stant at the master training course or music therapy at the LUCA�School
o service. She graduated with her Bachelor o Music in Music Therapy in 1973 and her Master o Music in Music T herapy in 1977 rom Michigan
o Arts, campus Lemmens, Leuven, Belgium. In 2016 she plans to finish her PhD-studies at Aalborg University in Denmark with a study that
State University. She worked clinically as a music therapist with emotionally disturbed adolescents and with patients with Alzheimer’s disease.
ocuses on music therapy and dementia.
She is a past president o the National Association or Music Therapy and the recipient o the Lietime Achievement Award, Service Award, Publications Award and others rom the American Music Therapy Association. Proessor Crowe is the author to several books, including Music and Soulmaking: Toward a New Theory o Music Therapy, Group Rhythm and Drumming with Older Adults: Music Therapy Techniques and Multimedia Training Guide, and Music Therapy Techniques or Children, Adolescents, and Adults with Mental Dis orders.
16
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
17
Paper
Workshop
5 Anke Coomans
6 Barbara Crowe
'Moments o resonance' in musical improvisation with people in a severe stage o dementia. An explorative multiple case study research
Group drumming and rhythmic experiences or older adults: An instructional workshop
Abstract: People in late stage dementia often show signs of anxiety and distress. Due to cognitive impairments, they lack the ability to express their emotions and needs in a way that is understandable to their family and/or caregivers. This lecture presents a study that aims to explore how musical improvisation in music therapy with people with dementia can lead to occurrences of essential moments of meeting on a nonverbal, musical level. In a multiple case study (n=4) approach, data consist of written clinical notes from the music therapist and video-recordings of individual music therapy sessions.
Each case study comprises an in-depth analysis that leads to a selection of essential moments of meeting between the patient and therapist. The selection as well as the analysis happens by means of a clinical research intervision group and is based on an interpretive phenomenological approach. Some preliminary conclusions of the study will be presented. They will show how musical improvisation can be used as a speci�ic intervention and how certain musical elements, such as timbre, tempo, silence, and phrasing, can play a crucial role in the occurrence of what is de�ined as ‘moments of resonance’.
Abstract: The purpose of this workshop is to teach individuals working with people with dementia rhythm and drumming-based musical experiences for use with their dementia patients and to articulate the goals that can be achieved with such experiences. Compelling research has shown that rhythm and drumming experiences are highly bene�icial for people with dementia and foster positive outcomes for them. In this workshop, participants will learn the uses and values of rhythm and drumming-based experiences for older adults with dementia. Goals to be achieved with these experiences will be articulated and demonstrated.
Speci�ic rhythm and drumming activities will be introduced through participant engagement in the various activities. These include, but are not limited to: rhythmic name improvisation, rhythmic word percussion playing, tandem drumming, pass the egg shaker, modi�ied drum circle, rhythmic echo, and rhythmic entrainment. The connection between the activities and the goals to be achieved will be articulated. The workshop outline will be as follows: •
Introduction to rhythm and drumming activity interventions for adults with dementia;
These goals include:
•
Bene�icial outcomes of such activities;
1
•
Participant engagement in various rhythm and drumming techniques to be used with people with dementia;
•
Questions and group discussion.
increased reality orientation and attention to task;
2 promotion of social interaction and group experiences; 3 decreased agitation; 4 muscle usage to promote improved muscle tone and range of motion; 5 improved quality of life; 6 re-emergence of cognitive functioning and aspects of personality, and 7 facilitating interaction between the patient with dementia and their family members.
Anke Coomans
Barbara Crowe
Anke Coomans is MA Music Therapist at the University Psychiatric Center KU Leuven, campus Kortenberg, Belgium, where she works on the
Emeritus Proessor Barbara J. Crowe retired this May as Director o Music Therapy at Arizona State University in Tempe, AZ USA afer 34 years
psycho-geriatric units. Beyond her clinical work, she is also an assi stant at the master training course or music therapy at the LUCA�School
o service. She graduated with her Bachelor o Music in Music Therapy in 1973 and her Master o Music in Music T herapy in 1977 rom Michigan
o Arts, campus Lemmens, Leuven, Belgium. In 2016 she plans to finish her PhD-studies at Aalborg University in Denmark with a study that
State University. She worked clinically as a music therapist with emotionally disturbed adolescents and with patients with Alzheimer’s disease.
ocuses on music therapy and dementia.
She is a past president o the National Association or Music Therapy and the recipient o the Lietime Achievement Award, Service Award, Publications Award and others rom the American Music Therapy Association. Proessor Crowe is the author to several books, including Music and Soulmaking: Toward a New Theory o Music Therapy, Group Rhythm and Drumming with Older Adults: Music Therapy Techniques and Multimedia Training Guide, and Music Therapy Techniques or Children, Adolescents, and Adults with Mental Dis orders.
16
Conference Programme 4�6 September 2015
Music Therapy and Dementia Care in the 21st Century
17
Papers 7 Philippa Derrington and Rebecca Queen
8 Rebecca Dowson
Approaching dementia care together
What can songwriting offer to people with dementia?
Abstract: Dementia is a national priority for the Scottish Government. Contributions from Allied Health Professionals (AHPs) are currently being collated which will form the basis of a new policy document (September 2015) to support the transformation of dementia care across all sectors.
Abstract: Songwriting is a well-established therapeutic tool for music therapists, providing clients with a medium for self-expression, creativity and containment, as well as a tangible �inished “product” from the process. However, songwriting may not be an obvious choice for therapists working with clients who have dementia because the di�iculties with memory and language which often affect them might appear to be insurmountable obstacles to their engagement. The paper will suggest that, in certain cases, songwriting can directly address some of the challenges which are experienced by people with dementia, providing a way of “holding on” to receding memories, containing feelings and emotions, and resulting in a song which can be revisited again and again.
As AHPs, music therapists have a key role in this process and in the future of dementia care in Scotland. Alzheimer Scotland, in employing a music therapist/intern, has taken a pioneering step in enabling music therapists to contribute actively to these progressions and towards raising the pro�ile of music therapists as AHPs. In addition to this, a Scottish Dementia and Music Therapy Network has recently been established. The remit of this group is to create a dynamic network and raise the pro�ile of music therapy as a psychological intervention in Dementia Care, with reference to a model of community support created by Alzheimer Scotland.
At Queen Margaret University in Edinburgh, equipping graduates to work effectively in a variety of Dementia care settings forms part of the University’s future vision. From two different perspectives, this paper will present the discourse of a working collaboration between Queen Margaret University and Alzheimer Scotland, which culminated in the signing of a Strategic Alliance in April 2015. The practice and implication of this collaboration will be discussed: its impact on the Higher Education Institute and the developments described by a music therapist working for Alzheimer Scotland. As well as presenting advances to-date, this paper will include clinical examples and video illustration.
The paper will also consider what factors in�luence whether improvised singing or songwriting is a more suitable intervention for a client with dementia. The paper will illustrate these ideas with the case study of S, a woman in her late 60s with a diagnosis of vascular dementia. Songwriting encouraged S to explore memories from her early childhood and engage in a co-operative process of composition with me. Themes of nostalgia and of growing up emerged in the song, which remained important to S after it was �inished and was often revisited in sessions. A recording of S's song will be shared with the audience. The paper will conclude by considering the relevance of Bion's ideas about containment to songwriting with this client group.
Philippa Derrington
Rebecca Queen
Dr. Philippa Derrington is Programme Leader o the MSc
Rebecca Queen graduated rom Anglia Ruskin University in 2014.
Music Therapy at Queen Margaret University, Edinburgh. She
In January 2015 she began working with Alzheimer Scotland
previously worked in Cambridge as a music therapist in a variety
as a music therapist and music therapy intern. The remit o her
Rebecca Dowson studied music at Oxord University beore training as a music therapist at Anglia Ruskin University. She now works with
o settings with adults and children. She established a ull-time
work involves the development o a ‘Music and Me’ document
Guideposts Trust in Oxordshire, spending most o her time providing music therapy sessions or people with dementia in care homes and day
permanent music therapy post in a secondary school and was
which ocuses on the importance o using a person centred
centres. She also works as a music therapist with children and young people with autism and learning disabilities.
lead researcher or the Music Therapy Charity’s Youth at Risk
approach and partnership working between amilies, care staff,
project. She has published her work, was co-editor o Music
proessionals and community activity acilitators. Rebecca is
Therapy in Schools (Jessica Kingsley, 2012) and has presented at
passionate about working in dementia care, and hopes that
many conerences nationally and internationally.
this will be the first o many opportunities o presenting at a
Rebecca Dowson
conerence.
18
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
19
Papers 7 Philippa Derrington and Rebecca Queen
8 Rebecca Dowson
Approaching dementia care together
What can songwriting offer to people with dementia?
Abstract: Dementia is a national priority for the Scottish Government. Contributions from Allied Health Professionals (AHPs) are currently being collated which will form the basis of a new policy document (September 2015) to support the transformation of dementia care across all sectors.
Abstract: Songwriting is a well-established therapeutic tool for music therapists, providing clients with a medium for self-expression, creativity and containment, as well as a tangible �inished “product” from the process. However, songwriting may not be an obvious choice for therapists working with clients who have dementia because the di�iculties with memory and language which often affect them might appear to be insurmountable obstacles to their engagement. The paper will suggest that, in certain cases, songwriting can directly address some of the challenges which are experienced by people with dementia, providing a way of “holding on” to receding memories, containing feelings and emotions, and resulting in a song which can be revisited again and again.
As AHPs, music therapists have a key role in this process and in the future of dementia care in Scotland. Alzheimer Scotland, in employing a music therapist/intern, has taken a pioneering step in enabling music therapists to contribute actively to these progressions and towards raising the pro�ile of music therapists as AHPs. In addition to this, a Scottish Dementia and Music Therapy Network has recently been established. The remit of this group is to create a dynamic network and raise the pro�ile of music therapy as a psychological intervention in Dementia Care, with reference to a model of community support created by Alzheimer Scotland.
At Queen Margaret University in Edinburgh, equipping graduates to work effectively in a variety of Dementia care settings forms part of the University’s future vision. From two different perspectives, this paper will present the discourse of a working collaboration between Queen Margaret University and Alzheimer Scotland, which culminated in the signing of a Strategic Alliance in April 2015. The practice and implication of this collaboration will be discussed: its impact on the Higher Education Institute and the developments described by a music therapist working for Alzheimer Scotland. As well as presenting advances to-date, this paper will include clinical examples and video illustration.
The paper will also consider what factors in�luence whether improvised singing or songwriting is a more suitable intervention for a client with dementia. The paper will illustrate these ideas with the case study of S, a woman in her late 60s with a diagnosis of vascular dementia. Songwriting encouraged S to explore memories from her early childhood and engage in a co-operative process of composition with me. Themes of nostalgia and of growing up emerged in the song, which remained important to S after it was �inished and was often revisited in sessions. A recording of S's song will be shared with the audience. The paper will conclude by considering the relevance of Bion's ideas about containment to songwriting with this client group.
Philippa Derrington
Rebecca Queen
Dr. Philippa Derrington is Programme Leader o the MSc
Rebecca Queen graduated rom Anglia Ruskin University in 2014.
Music Therapy at Queen Margaret University, Edinburgh. She
In January 2015 she began working with Alzheimer Scotland
previously worked in Cambridge as a music therapist in a variety
as a music therapist and music therapy intern. The remit o her
Rebecca Dowson studied music at Oxord University beore training as a music therapist at Anglia Ruskin University. She now works with
o settings with adults and children. She established a ull-time
work involves the development o a ‘Music and Me’ document
Guideposts Trust in Oxordshire, spending most o her time providing music therapy sessions or people with dementia in care homes and day
permanent music therapy post in a secondary school and was
which ocuses on the importance o using a person centred
centres. She also works as a music therapist with children and young people with autism and learning disabilities.
lead researcher or the Music Therapy Charity’s Youth at Risk
approach and partnership working between amilies, care staff,
project. She has published her work, was co-editor o Music
proessionals and community activity acilitators. Rebecca is
Therapy in Schools (Jessica Kingsley, 2012) and has presented at
passionate about working in dementia care, and hopes that
many conerences nationally and internationally.
this will be the first o many opportunities o presenting at a
Rebecca Dowson
conerence.
18
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
Round table
Paper
9 Jörg Fachner , Sarah Faber, Thomas Wosch, Alexis Kirke
10 Adrienne Freeman
Perspectives o ICT, neuroscience and music in dementia care
Negotiating the border: Music therapy or people in the last hours o dementia
This round table brings two perspectives together that may be of vital importance in music therapy and dementia care: Information and Communication Technologies (ICT) and neuroscience. More and more music therapists utilize technology for the recording and analysis of music and more clients are getting used to using technology to communicate with others, and also to listen to and create music (Magee 2014). A recent call from the EU asks for investigation into the potential of bringing ICT based technological aids into the home, and combining them with advanced and emerging therapeutic concepts. This round table will discuss what is already possible, will present and discuss trends and how music and ICT application in dementia care may help to create a holding environment in which humans sustain with their remaining abilities.
Abstract: This paper will explore issues encountered when offering music therapy in the last hours of people with dementia. Hearing usually remains functional until death (Bunt 1994; Weber 1999), rendering music a relevant means of being present for the dying person. The border between life and death is a unique territory (Worth 2005): here, one encounters extreme vulnerability, high dependence and intimacy for both the patient and their loved ones. The therapist’s involvement with multi-disciplinary colleagues becomes, of necessity, altered: nursing tasks around basic bodily functions such as respiration, incontinence and vomiting can easily become part of the therapy session. Relatives may be present and, for them, this is frequently a time of heightened emotion. Great sensitivity is required from the music therapist in order to negotiate such territory: it is imperative to receive clinical supervision and liaise with colleagues and next-of-kin. The person in their last hours is unlikely to be able to clearly indicate their wishes, so it becomes vital for the therapist to hold in mind both the
Thomas Wosch will present a research project that aims to detect the early onset of elderly depression by analyzing music listening habits and ways in which healthy elderly individuals interact in music. This research is extrapolating results gained from studies on music therapy and depression and will apply them as integrated tools in wearables such as smart watches, sensor technics, etc.
This research will be supplemented by Jörg Fachner , with a presentation on the recent research on neuroscience, depression and music, and will discuss how this applies to the elderly, how we can use state-dependent memory in songs and preferred music to stimulate arousal and responsiveness, and how embodied cognition is of importance. Sarah Faber will then speak on the neuro-dynamics of musical improvisation. She will focus on the processes and time course of dyadic improvisation to detect and describe the neural signatures of how we relate to others in a medium that helps to organize time processes and stimulate memory in action. Alexis Kirke will inform us on the use of personalized music when creating a dementia radio station. This radio station will integrate a variety of vital information that will assist an elderly individual in the early stages of dementia by supporting them with an augmented audio reality. Listening to the radio is an important activity for older adults with dementia. A personalized radio station with elements of augmented reality may assist individuals in remembering important time points, may help to identify people in the environment, and will measure mood states and recommend music from their personal ‘top ten’.
Alexis Kirke
Sarah Faber
Alexis Kirke is a composer and filmmaker well-known or his interdisciplinary practice. He is a member o the Plymouth University’s Interdisciplinary Centre or Computer Music Research in the South-West o England, and is composer-in-
'Sarah Faber is a music therapist researcher at Anglia Ruskin University. She trained as a music therapist i n Canada and let the proession in 2012 to complete a master’s degree in Music, Mind and Technology at the University o Jyväskylä, Finland.
residence or the Plymouth Marine Institute – the UK leader in Marine research and work on sustainability, marine pollution and conservation. Alexis has completed two PhDs, one in arts and
Her research ocuses on the neural processes o dyadic instrumental improvisation using EEG and she is continuing this research at the doctoral level with clinical populations,
one in technology. Alexis is a poet and critic who has written or publications such as Terrible Work, Oasis, Tremblestone (UK) and Transmog (US). He has also been invited to read at Glastonbury
speciically individuals with Alzheimer’s-type dementia.
Bunt, L. (1994) Music Therapy: An Art Beyond Words. London; Routledge. Weber, S. (1999) ‘Music: A Means of Comfort’. In Aldridge D. (ed.) Music Therapy in Palliative Care: New Voices. London; Jessica Kingsley Publishers Ltd. Worth, J. (2005) Shadows of the Workhouse. London; Phoenix, Orion Books Ltd.
Adrienne Freeman programmes. A BAMT registered supervisor o many years’ standing, she has extensive experience o supervising both qualified and student music therapists rom various training backgrounds. She wrote a chapter entitled ‘The Elderly’ or the book ‘Integrated Team Working: Music Therapy as part o Transdisciplinary and Collaborative Approaches’, edited by K. Twyord and T. Watson (Jessica Kingsley Publishers, 2008).
Jörg Fachner is Proessor o Music, Health and the Brain at Anglia Ruskin University His research interest ocuses on neuroscientific approximations to kairological principles o music therapy processes. He has worked in music therapy research centres in
head o the final year specialization in music therapy in BA Social Work and specializes in microanalyses in music therapy.
Finland and Germany, and researches music and brain processes in depression and consciousness states.
Music Therapy and Dementia Care in the 21st Century
References
Mental Health NHS Trust, where she has worked or many years. She is an experienced external examiner to Music Therapy training
Jörg Fachner
Thomas Wosch is Proessor o Music Therapy at the University o Applied Sciences, Würzburg-Schweinurt in Germany.He is director o the Music T herapy master’s programme and ocuses on clients with special needs and clients with dementia. He is also
20
patient’s personal history and their music therapy history. Personal identity remains validated through the use of music connected with life experience (Bunt 1994). This paper will use case vignettes to illustrate the decisions of the music therapist as to whether or not to offer music therapy, and if so, how and when. Observations of colleagues and next-of-kin will be included, noting changes in levels of patients’ alertness, reduction in agitation etc. Such observations serve to underline music therapy’s impact at end-of-life.
Adrienne Freeman leads the music therapy team or the Older Adults s ervice within the Enfield sector o Barnet, Enfield and Haringey
Festival, and was editor o the UK’s first poetry webzine ‘Brink’.
Thomas Wosch
19
Conference Programme 4�6 September 2015
21
Round table
Paper
9 Jörg Fachner , Sarah Faber, Thomas Wosch, Alexis Kirke
10 Adrienne Freeman
Perspectives o ICT, neuroscience and music in dementia care
Negotiating the border: Music therapy or people in the last hours o dementia
This round table brings two perspectives together that may be of vital importance in music therapy and dementia care: Information and Communication Technologies (ICT) and neuroscience. More and more music therapists utilize technology for the recording and analysis of music and more clients are getting used to using technology to communicate with others, and also to listen to and create music (Magee 2014). A recent call from the EU asks for investigation into the potential of bringing ICT based technological aids into the home, and combining them with advanced and emerging therapeutic concepts. This round table will discuss what is already possible, will present and discuss trends and how music and ICT application in dementia care may help to create a holding environment in which humans sustain with their remaining abilities.
Abstract: This paper will explore issues encountered when offering music therapy in the last hours of people with dementia. Hearing usually remains functional until death (Bunt 1994; Weber 1999), rendering music a relevant means of being present for the dying person. The border between life and death is a unique territory (Worth 2005): here, one encounters extreme vulnerability, high dependence and intimacy for both the patient and their loved ones. The therapist’s involvement with multi-disciplinary colleagues becomes, of necessity, altered: nursing tasks around basic bodily functions such as respiration, incontinence and vomiting can easily become part of the therapy session. Relatives may be present and, for them, this is frequently a time of heightened emotion. Great sensitivity is required from the music therapist in order to negotiate such territory: it is imperative to receive clinical supervision and liaise with colleagues and next-of-kin. The person in their last hours is unlikely to be able to clearly indicate their wishes, so it becomes vital for the therapist to hold in mind both the
Thomas Wosch will present a research project that aims to detect the early onset of elderly depression by analyzing music listening habits and ways in which healthy elderly individuals interact in music. This research is extrapolating results gained from studies on music therapy and depression and will apply them as integrated tools in wearables such as smart watches, sensor technics, etc.
This research will be supplemented by Jörg Fachner , with a presentation on the recent research on neuroscience, depression and music, and will discuss how this applies to the elderly, how we can use state-dependent memory in songs and preferred music to stimulate arousal and responsiveness, and how embodied cognition is of importance. Sarah Faber will then speak on the neuro-dynamics of musical improvisation. She will focus on the processes and time course of dyadic improvisation to detect and describe the neural signatures of how we relate to others in a medium that helps to organize time processes and stimulate memory in action. Alexis Kirke will inform us on the use of personalized music when creating a dementia radio station. This radio station will integrate a variety of vital information that will assist an elderly individual in the early stages of dementia by supporting them with an augmented audio reality. Listening to the radio is an important activity for older adults with dementia. A personalized radio station with elements of augmented reality may assist individuals in remembering important time points, may help to identify people in the environment, and will measure mood states and recommend music from their personal ‘top ten’.
Alexis Kirke
Sarah Faber
Alexis Kirke is a composer and filmmaker well-known or his interdisciplinary practice. He is a member o the Plymouth University’s Interdisciplinary Centre or Computer Music Research in the South-West o England, and is composer-inresidence or the Plymouth Marine Institute – the UK leader in Marine research and work on sustainability, marine pollution and conservation. Alexis has completed two PhDs, one in arts and
'Sarah Faber is a music therapist researcher at Anglia Ruskin University. She trained as a music therapist i n Canada and let the proession in 2012 to complete a master’s degree in Music, Mind and Technology at the University o Jyväskylä, Finland. Her research ocuses on the neural processes o dyadic instrumental improvisation using EEG and she is continuing this research at the doctoral level with clinical populations,
one in technology. Alexis is a poet and critic who has written or publications such as Terrible Work, Oasis, Tremblestone (UK) and Transmog (US). He has also been invited to read at Glastonbury
speciically individuals with Alzheimer’s-type dementia.
Bunt, L. (1994) Music Therapy: An Art Beyond Words. London; Routledge. Weber, S. (1999) ‘Music: A Means of Comfort’. In Aldridge D. (ed.) Music Therapy in Palliative Care: New Voices. London; Jessica Kingsley Publishers Ltd. Worth, J. (2005) Shadows of the Workhouse. London; Phoenix, Orion Books Ltd.
Adrienne Freeman Mental Health NHS Trust, where she has worked or many years. She is an experienced external examiner to Music Therapy training
Jörg Fachner
programmes. A BAMT registered supervisor o many years’ standing, she has extensive experience o supervising both qualified and student music therapists rom various training backgrounds. She wrote a chapter entitled ‘The Elderly’ or the book ‘Integrated Team Working: Music Therapy as part o Transdisciplinary and Collaborative Approaches’, edited by K. Twyord and T. Watson (Jessica Kingsley Publishers, 2008).
Thomas Wosch is Proessor o Music Therapy at the University o Applied Sciences, Würzburg-Schweinurt in Germany.He is director o the Music T herapy master’s programme and ocuses on clients with special needs and clients with dementia. He is also
Jörg Fachner is Proessor o Music, Health and the Brain at Anglia Ruskin University His research interest ocuses on neuroscientific approximations to kairological principles o music therapy processes. He has worked in music therapy research centres in
head o the final year specialization in music therapy in BA Social Work and specializes in microanalyses in music therapy.
Finland and Germany, and researches music and brain processes in depression and consciousness states.
20
References
Adrienne Freeman leads the music therapy team or the Older Adults s ervice within the Enfield sector o Barnet, Enfield and Haringey
Festival, and was editor o the UK’s first poetry webzine ‘Brink’.
Thomas Wosch
patient’s personal history and their music therapy history. Personal identity remains validated through the use of music connected with life experience (Bunt 1994). This paper will use case vignettes to illustrate the decisions of the music therapist as to whether or not to offer music therapy, and if so, how and when. Observations of colleagues and next-of-kin will be included, noting changes in levels of patients’ alertness, reduction in agitation etc. Such observations serve to underline music therapy’s impact at end-of-life.
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
21
Papers 11 Jamal Jasani Glynn
12 Karen Gold
The effects o childhood abuse on a dementia client: A case study rom Trinidad and Tobago ocusing on the benefits o music therapy
Senex, Puer and Sinatra: some thoughts about age-disparity and song
Abstract: The paper explores the possible relationship between physical abuse during childhood and dementia from a Caribbean perspective. Using a case study, it also attempts to show how music therapy can bene�it clients with dementia who suffered physical abuse in the past. Physical abuse is a severe problem in Caribbean societies. Traditionally, most parents in the Caribbean have subscribed to the belief that children should not go unpunished for their bad deeds with excessive forms of punishments. This is even more true for children who were raised in the 40’s and 50’s.
To date, there are few studies that have investigated the association between physical abuse and dementia in the Caribbean. What is not yet clear is the impact of physical child abuse on dementia patients. Also, there has been no documented analysis of physical child abuse within the �ield of music therapy in the Caribbean. The case study introduced in the paper is a �irst attempt to �ill this gap.
Abstract: What happens in the therapeutic relationship when the patient is older, (sometimes much older), than the therapist? This paper explores the dynamics around youth and age which occur between patients and therapists in dementia work. Myths, fairy-tales and images all shed light on how we perceive ourselves and each other through the lens of time lived and time remaining. So do pre-composed songs, and the ways in which patients with dementia and their therapists choose them and use them in music therapy.
patients and therapists in the room, and by the unconscious transferences and counter-transferences arising between them. They are implicit in dementia-provoked cognitive and communicative inequalities between patients and therapists. They steer the ways we create and respond to (musical) relationships and experiences. And they may illumine those transcendent moments of therapy when who is 'old' and who is 'young' may not be quite so easily de�ined.
Giving case examples of song choices, some predictable and some unpredictable, I shall suggest that archetypal aspects of Age and Youth (Senex and Puer) are ever-present in dementia work. They are prompted by the actual age-disparity of
Dementia is a common disorder characterized by fragmented memory, delusional thoughts and the loss of orientation of day, time, and place. Exposure to excessive trauma has been shown to be related to adverse effects in memory loss and dementia. However, physical abuse during childhood could be a contributing factor to dementia and the insecure attachments, issues with trust, leading to aggressive behaviour at later stages of their lives.
Jamal Jasani Glynn
Karen Gold
Mr. Jamal J Glynn is a registered Music Therapist with the Health and Care Proessions Council in the United Kingdom (HCPC and BAMT)
Karen Gold is a music therapist working with people o all ages in different settings. She is training with the British Jungian Analytic
and works within the psychiatric setting at North West Regional Health Authority, Trinidad and Tobago. He is passionate about exploring the
Association, part o the British Psychotherapy Foundation.
benefits o the steelpan in music therapy. He also wrote his dissertation onthis subject. He is interested in providing a Caribbean perspective regarding music therapy interventions and has conducted research in Trinidad and Tobago. (Jamal Glynn: Music Therapy and its relationship to Schizophrenia – A pilot study, Caribbean Medical Journal, volume 75 No. 2 December, 2013, (pg 8�13).
22
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
23
Papers 11 Jamal Jasani Glynn
12 Karen Gold
The effects o childhood abuse on a dementia client: A case study rom Trinidad and Tobago ocusing on the benefits o music therapy
Senex, Puer and Sinatra: some thoughts about age-disparity and song
Abstract: The paper explores the possible relationship between physical abuse during childhood and dementia from a Caribbean perspective. Using a case study, it also attempts to show how music therapy can bene�it clients with dementia who suffered physical abuse in the past. Physical abuse is a severe problem in Caribbean societies. Traditionally, most parents in the Caribbean have subscribed to the belief that children should not go unpunished for their bad deeds with excessive forms of punishments. This is even more true for children who were raised in the 40’s and 50’s.
To date, there are few studies that have investigated the association between physical abuse and dementia in the Caribbean. What is not yet clear is the impact of physical child abuse on dementia patients. Also, there has been no documented analysis of physical child abuse within the �ield of music therapy in the Caribbean. The case study introduced in the paper is a �irst attempt to �ill this gap.
Abstract: What happens in the therapeutic relationship when the patient is older, (sometimes much older), than the therapist? This paper explores the dynamics around youth and age which occur between patients and therapists in dementia work. Myths, fairy-tales and images all shed light on how we perceive ourselves and each other through the lens of time lived and time remaining. So do pre-composed songs, and the ways in which patients with dementia and their therapists choose them and use them in music therapy.
patients and therapists in the room, and by the unconscious transferences and counter-transferences arising between them. They are implicit in dementia-provoked cognitive and communicative inequalities between patients and therapists. They steer the ways we create and respond to (musical) relationships and experiences. And they may illumine those transcendent moments of therapy when who is 'old' and who is 'young' may not be quite so easily de�ined.
Giving case examples of song choices, some predictable and some unpredictable, I shall suggest that archetypal aspects of Age and Youth (Senex and Puer) are ever-present in dementia work. They are prompted by the actual age-disparity of
Dementia is a common disorder characterized by fragmented memory, delusional thoughts and the loss of orientation of day, time, and place. Exposure to excessive trauma has been shown to be related to adverse effects in memory loss and dementia. However, physical abuse during childhood could be a contributing factor to dementia and the insecure attachments, issues with trust, leading to aggressive behaviour at later stages of their lives.
Jamal Jasani Glynn
Karen Gold
Mr. Jamal J Glynn is a registered Music Therapist with the Health and Care Proessions Council in the United Kingdom (HCPC and BAMT)
Karen Gold is a music therapist working with people o all ages in different settings. She is training with the British Jungian Analytic
and works within the psychiatric setting at North West Regional Health Authority, Trinidad and Tobago. He is passionate about exploring the
Association, part o the British Psychotherapy Foundation.
benefits o the steelpan in music therapy. He also wrote his dissertation onthis subject. He is interested in providing a Caribbean perspective regarding music therapy interventions and has conducted research in Trinidad and Tobago. (Jamal Glynn: Music Therapy and its relationship to Schizophrenia – A pilot study, Caribbean Medical Journal, volume 75 No. 2 December, 2013, (pg 8�13).
22
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
23
Papers 13 Joy Gravestock
14 Nicky Haire and Jane Bentley
Do you have space to come and be with my ather?: A single psychoanalytically inormed music therapy case study
Mapping musics in dementia care in Scotland: Community musicians and music therapists approaching dementia together
Abstract: Contemporary developments in psychoanalytic thinking in relation to older people provide an understanding of dynamic issues relating to ageing/dementia. Music therapy, enabling expression of inaccessible feelings and cognitive states, might be well placed for forging relational attachments with dementia sufferers as musical memory is “spared” by their illness (Cuddy and Du�in 2005).
Abstract: This paper arises out of a meeting between the two presenters at an event organised by Edinburgh University’s Scottish Music and Health Network. With both presenters working in the �ield of dementia, their ensuing conversation began with the question: what would it be like to be able to cross-refer to each other?
Our earliest communication (“motherese”) is based upon musical elements, and dementia sufferers, regressed (especially in late stage illness) to dependent states, may experience early life resonances. In vulnerability, strangers or their own children care for them. However, how clients receive and experience care may still be in�luenced by unconscious memory of early caregivers. Traumatic changes for the sufferer, such as death of their partner, bodily incapacitation, and other loss, may provoke repetition of unconscious material.
Developmental biological processes and illness inevitably impairs the equilibrium of psychic processes, yet some plasticity of mental processes still exists, and therefore there is justi�ication for treatment/intervention even in en d stage cases. Dementia sufferers function within a number of concurrent time scales; chronological, biological and psychological. Within these, the therapist can be experienced as a transference �igure, and internal unconscious worlds may be explored in shared feeling and emotion in improvisation, evoking a time and place, wherein the client might integrate “the selves they once were”. Music therapy might then help the client build relationship �irst within themselves, (as “despite the disintegrating effects of dementia, there always remains a sentient individual to work with” Simpson, 2000) and, ultimately, may improve relationship with carers.
Drawing on Raymond MacDonald’s conceptual framework for music, health and wellbeing (2013) and considering current research into a conceptual framework for music and dementia commissioned by the Life Changes Trust and being carried out at Dementia Services Development Centre in Stirling, the presenters explore how professionals already using music with people with dementia can collaborate and learn from each other.
The number of music therapists working in dementia care in Scotland is growing and as the bene�its of using music with people with dementia are more widely recognised, new funding for researching and developing work in music and dementia is being released. With a recently formed BAMT network for music therapists working in dementia in Scotland, there is excitement and energy about how to facilitate the best possible provision and practice. The presenters will map how music is used in dementia care in Scotland and explore a vision for the future, which involves dialogue and collaboration between community musicians, music therapists and other professionals using music with people with dementia working alongside each other. References MacDonald R., (2013) ‘Music, health and wellbeing: a review’ Int. J Qualitative Stud Health Well-being 2013, 8: 20635 http://dx.doi.org/10.3402/qhw.v8i0.20635
Joy Gravestock
Nicky Haire
Jane Bentley
Joy is a sel-employed music therapist working predominantly within adoption. She has developed an interest i n the impact o findings rom
Afer qualiying rom Anglia Ruskin University, Nicky worked
Jane Bentley is a community musician, consultant, and trainer,
neurobiology upon the development o adult verbal psychotherapy and is interested in exploring how attachments throughout lie may be
or several years as a music therapist in special schools and with
specialising in music in healthcare settings. She also works
thought about, explored, and hopeully enhanced by an attachment and relational-based music therapy relationship.
elderly clients in care homes around Cambridge. Having recently
part-time or the NHS as a musician in Older Adult Mental Health
relocated to Edinburgh, she now works as a reelance music
services. She completed her PhD at the University o Strathclyde
therapist with adults with brain injury and older adults with
in 2011, ocusing on musical interaction.
dementia.
24
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
25
Papers 13 Joy Gravestock
14 Nicky Haire and Jane Bentley
Do you have space to come and be with my ather?: A single psychoanalytically inormed music therapy case study
Mapping musics in dementia care in Scotland: Community musicians and music therapists approaching dementia together
Abstract: Contemporary developments in psychoanalytic thinking in relation to older people provide an understanding of dynamic issues relating to ageing/dementia. Music therapy, enabling expression of inaccessible feelings and cognitive states, might be well placed for forging relational attachments with dementia sufferers as musical memory is “spared” by their illness (Cuddy and Du�in 2005).
Abstract: This paper arises out of a meeting between the two presenters at an event organised by Edinburgh University’s Scottish Music and Health Network. With both presenters working in the �ield of dementia, their ensuing conversation began with the question: what would it be like to be able to cross-refer to each other?
Our earliest communication (“motherese”) is based upon musical elements, and dementia sufferers, regressed (especially in late stage illness) to dependent states, may experience early life resonances. In vulnerability, strangers or their own children care for them. However, how clients receive and experience care may still be in�luenced by unconscious memory of early caregivers. Traumatic changes for the sufferer, such as death of their partner, bodily incapacitation, and other loss, may provoke repetition of unconscious material.
Developmental biological processes and illness inevitably impairs the equilibrium of psychic processes, yet some plasticity of mental processes still exists, and therefore there is justi�ication for treatment/intervention even in en d stage cases. Dementia sufferers function within a number of concurrent time scales; chronological, biological and psychological. Within these, the therapist can be experienced as a transference �igure, and internal unconscious worlds may be explored in shared feeling and emotion in improvisation, evoking a time and place, wherein the client might integrate “the selves they once were”. Music therapy might then help the client build relationship �irst within themselves, (as “despite the disintegrating effects of dementia, there always remains a sentient individual to work with” Simpson, 2000) and, ultimately, may improve relationship with carers.
Drawing on Raymond MacDonald’s conceptual framework for music, health and wellbeing (2013) and considering current research into a conceptual framework for music and dementia commissioned by the Life Changes Trust and being carried out at Dementia Services Development Centre in Stirling, the presenters explore how professionals already using music with people with dementia can collaborate and learn from each other.
The number of music therapists working in dementia care in Scotland is growing and as the bene�its of using music with people with dementia are more widely recognised, new funding for researching and developing work in music and dementia is being released. With a recently formed BAMT network for music therapists working in dementia in Scotland, there is excitement and energy about how to facilitate the best possible provision and practice. The presenters will map how music is used in dementia care in Scotland and explore a vision for the future, which involves dialogue and collaboration between community musicians, music therapists and other professionals using music with people with dementia working alongside each other. References MacDonald R., (2013) ‘Music, health and wellbeing: a review’ Int. J Qualitative Stud Health Well-being 2013, 8: 20635 http://dx.doi.org/10.3402/qhw.v8i0.20635
Joy Gravestock
Nicky Haire
Jane Bentley
Joy is a sel-employed music therapist working predominantly within adoption. She has developed an interest i n the impact o findings rom
Afer qualiying rom Anglia Ruskin University, Nicky worked
Jane Bentley is a community musician, consultant, and trainer,
neurobiology upon the development o adult verbal psychotherapy and is interested in exploring how attachments throughout lie may be
or several years as a music therapist in special schools and with
specialising in music in healthcare settings. She also works
thought about, explored, and hopeully enhanced by an attachment and relational-based music therapy relationship.
elderly clients in care homes around Cambridge. Having recently
part-time or the NHS as a musician in Older Adult Mental Health
relocated to Edinburgh, she now works as a reelance music
services. She completed her PhD at the University o Strathclyde
therapist with adults with brain injury and older adults with
in 2011, ocusing on musical interaction.
dementia.
24
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
25
Round table 15 Ming Hung Hsu (Chair), Polly Bowler, Rosamund Flowerdew, Laura Bolton, Helen Odell-Miller, Liz Jones
Beyond music making: Making music therapy work or the health and care o people in dementia care homes Introduction Making psychosocial interventions such as music therapy successful in long-term dementia care requires programming the interventions into daily care (Vernoonij-Dassen et al., 2010). However, the question is ‘how’ when music therapy is not provided on a daily basis and can be perceived as an intervention hidden behind closed doors.
Themes The panel consists of carer, manager of music therapy, head of policy and research, university professor, music therapists and research assistant. Each will discuss a theme as follows:
This roundtable aims to share a 72-year-old charitable care organisation’s experience of rolling out a music therapy programme in over 50 dementia care homes. The discussion will also draw the audience’s attention to the recent literature reviews of implementation strategies for psychosocial interventions: 1
Organisational support: modifying staff work schedules, providing practice opportunities and changing policy or treatment guidelines. (Lawrence et al., 2012)
2
Interventions tailored to the person’s abilities and preferences (Lawrence et al., 2012; Dugmore et al., 2015)
1 Seeing music therapy 'beyond music making'
2 'Making a difference with music therapists' knowledge of health
Ming Hung Hsu/Helen Odell-Miller
Polly Bowler
Compared with other essential services, e.g. personal care and catering in care homes, music therapy responds less directly to the ‘priority needs’ and income generation. At the same time, it relies on the pro�it made by these essential services. Whether music therapy is a ‘sine qua non’ of care home services can therefore be questioned. This calls for clarity of music therapy‘s usefulness to the existing care services. An unequivocal task is to help staff and families see the intervention ‘beyond music making’. Music therapists are not the people who come into care homes to make some music and produce ’magic moments’. This talk will discuss what might need to be done from the outset of setting up the service and for later on-going service maintenance and monitoring.
Music therapy practice in dementia care homes requires music therapists’ �lexibility to work between the neurological and psychological domains. Clinicians who are newly quali�ied or who have not previously worked in the �ield can feel certain conventional “Do and Don’ts” learned from the music therapy training being compromised. This could, consequently, generate di�icult feelings in clinicians. This talk will discuss how a national music therapy team’s monthly meetings provide support, group supervision and continuing professional development activities to their music therapists and students on placement. Additionally, the meetings include seminars covering the topics of psychiatry, neuroscience, psychotherapy, mental health law and current research. This increases music therapists’ knowledge of medications and neuropsychology which help explain patients’ health to people outside the profession. The talk stresses music therapists’ knowledge of health being the key to make the intervention work in care homes.
3 Active involvement of care staff and family members (Lawrence et al., 2012; Dugmore et al., 2015) 4 Staff training: improving staff knowledge and increasing person-centred attitude (Boersma et al., 2015)
Ming Hung Hsu
Helen Odell-Miller
Polly Bowler
Ming Hung Hsu spent his undergraduate years exploring how children learn in primary education. He later developed a desire to understand
is Proessor o Music Therapy and Director o the Music or Health
Polly trained classically on cello at Trinity college o Music. She
how music therapy works which led him to the training in the UK. Afer qualiying rom Anglia Ruskin University, he pioneered music therapy
Research Centre. In 1994 she co-ounded the first MA Music
completed her Masters in Music Therapy at Guildhall School o
in Methodist Homes, (now MHA), a not- or-profit care organisation or older adults and individuals living with dementia. Having worked
Therapy course in the UK at Anglia Ruskin University. Helen is
Music & Drama in 2011. She has been working with people with
closely with services and marketing managers, he had opportunities to see music therapy rom other proessionals’ perspectives. This also
currently an Advisory Board Member or international music
Dementia with Methodist Homes (MHA) since January 2012. A
enables him to value the use o non-music therapy language to communicate music therapy to people outside the proession. Ming is trained
therapy organisations. Other collaborations include work with
keen member o the BAMT dementia network, she also helped
in Dementia Care Mapping and is ascinated by lie sciences. His PhD research supervised by Pro. Helen Odell-Miller and Pro. Jorg Fachner
the International Consortium or Music Therapy Research and
to promote the 2014 conerence. Polly sings and plays cello and
has incorporated research findings o psychophysiology and neuroscience to explain the mechanics o music therapy in dementia care.
with Methodist Homes (MHA), and Ming Hsu working on new
sax in a wide range o groups including olk collective Tribe o
dementia research in music therapy. She is currently working
Tinkers, and 90’s cover band The Cardigan Pimps. She perorms
with Parliamentary groups on music therapy and dementia and
occasionally with orchestral ensembles and has led choir and
other research profile raising or music therapy.
olk music workshops in schools and at estivals.
26
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
27
Round table 15 Ming Hung Hsu (Chair), Polly Bowler, Rosamund Flowerdew, Laura Bolton, Helen Odell-Miller, Liz Jones
Beyond music making: Making music therapy work or the health and care o people in dementia care homes Introduction Making psychosocial interventions such as music therapy successful in long-term dementia care requires programming the interventions into daily care (Vernoonij-Dassen et al., 2010). However, the question is ‘how’ when music therapy is not provided on a daily basis and can be perceived as an intervention hidden behind closed doors.
Themes The panel consists of carer, manager of music therapy, head of policy and research, university professor, music therapists and research assistant. Each will discuss a theme as follows:
This roundtable aims to share a 72-year-old charitable care organisation’s experience of rolling out a music therapy programme in over 50 dementia care homes. The discussion will also draw the audience’s attention to the recent literature reviews of implementation strategies for psychosocial interventions: 1
Organisational support: modifying staff work schedules, providing practice opportunities and changing policy or treatment guidelines. (Lawrence et al., 2012)
2
Interventions tailored to the person’s abilities and preferences (Lawrence et al., 2012; Dugmore et al., 2015)
1 Seeing music therapy 'beyond music making'
2 'Making a difference with music therapists' knowledge of health
Ming Hung Hsu/Helen Odell-Miller
Polly Bowler
Compared with other essential services, e.g. personal care and catering in care homes, music therapy responds less directly to the ‘priority needs’ and income generation. At the same time, it relies on the pro�it made by these essential services. Whether music therapy is a ‘sine qua non’ of care home services can therefore be questioned. This calls for clarity of music therapy‘s usefulness to the existing care services. An unequivocal task is to help staff and families see the intervention ‘beyond music making’. Music therapists are not the people who come into care homes to make some music and produce ’magic moments’. This talk will discuss what might need to be done from the outset of setting up the service and for later on-going service maintenance and monitoring.
Music therapy practice in dementia care homes requires music therapists’ �lexibility to work between the neurological and psychological domains. Clinicians who are newly quali�ied or who have not previously worked in the �ield can feel certain conventional “Do and Don’ts” learned from the music therapy training being compromised. This could, consequently, generate di�icult feelings in clinicians. This talk will discuss how a national music therapy team’s monthly meetings provide support, group supervision and continuing professional development activities to their music therapists and students on placement. Additionally, the meetings include seminars covering the topics of psychiatry, neuroscience, psychotherapy, mental health law and current research. This increases music therapists’ knowledge of medications and neuropsychology which help explain patients’ health to people outside the profession. The talk stresses music therapists’ knowledge of health being the key to make the intervention work in care homes.
3 Active involvement of care staff and family members (Lawrence et al., 2012; Dugmore et al., 2015) 4 Staff training: improving staff knowledge and increasing person-centred attitude (Boersma et al., 2015)
Ming Hung Hsu
Helen Odell-Miller
Polly Bowler
Ming Hung Hsu spent his undergraduate years exploring how children learn in primary education. He later developed a desire to understand
is Proessor o Music Therapy and Director o the Music or Health
Polly trained classically on cello at Trinity college o Music. She
how music therapy works which led him to the training in the UK. Afer qualiying rom Anglia Ruskin University, he pioneered music therapy
Research Centre. In 1994 she co-ounded the first MA Music
completed her Masters in Music Therapy at Guildhall School o
in Methodist Homes, (now MHA), a not- or-profit care organisation or older adults and individuals living with dementia. Having worked
Therapy course in the UK at Anglia Ruskin University. Helen is
Music & Drama in 2011. She has been working with people with
closely with services and marketing managers, he had opportunities to see music therapy rom other proessionals’ perspectives. This also
currently an Advisory Board Member or international music
Dementia with Methodist Homes (MHA) since January 2012. A
enables him to value the use o non-music therapy language to communicate music therapy to people outside the proession. Ming is trained
therapy organisations. Other collaborations include work with
keen member o the BAMT dementia network, she also helped
in Dementia Care Mapping and is ascinated by lie sciences. His PhD research supervised by Pro. Helen Odell-Miller and Pro. Jorg Fachner
the International Consortium or Music Therapy Research and
to promote the 2014 conerence. Polly sings and plays cello and
has incorporated research findings o psychophysiology and neuroscience to explain the mechanics o music therapy in dementia care.
with Methodist Homes (MHA), and Ming Hsu working on new
sax in a wide range o groups including olk collective Tribe o
dementia research in music therapy. She is currently working
Tinkers, and 90’s cover band The Cardigan Pimps. She perorms
with Parliamentary groups on music therapy and dementia and
occasionally with orchestral ensembles and has led choir and
other research profile raising or music therapy.
olk music workshops in schools and at estivals.
26
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
27
Round table (continued) 3 Res earch toward better music therapy and dementia care practices
4 Building an interface between music therapy and standard care
Rosamund Flowerdew
Laura Bolton
Dementia care requires a concerted effort from multidisciplinary teams to address care home residents’ needs. There is currently a growing drive to use nonpharmacological interventions to manage the behavioural and psychological symptoms of dementia. The talk will highlight the pressing need to conduct further research to promote the implementation of psychosocial interventions into practice. The aims of the clinical trial commissioned by MHA will be outlined: primarily, to �ind an effective way to programme music therapy into care; and furthermore, to gather information on the mechanisms and value of music therapy in dementia care. The methods used in the project will also be discussed, in particular, the nature of care staff involvement, the use of mixed methods and technologyassisted devices, and how outcomes were obtained. Finally, the organisation’s investment in music therapy research and practice will be discussed.
Drawing from a music therapist’s experience of being involved in a clinical trial, the talk will discuss the practicality of building an interface between music therapy and standard care. How the music therapy sessions and posttherapy communication with staff were carried out as part of the data collection for the trial will be explained, particularly sensitivity around maintaining the con�identiality of the sessions. Some challenges and di�iculties impeding the delivery of the therapy sessions such as low sta�ing level encountered during the trial will be discussed. The talk highlights the need for incorporating carers’ perceptions and expertise in order to strengthen the link between music therapy and standard care.
Rosamund Flowerdew
5 MHA and music therapy – our conviction and commitment. How MHA has approached the use of music therapy across a range of dementia care homes Liz Jones This talk considers how to make music therapy a reality for a large charitable care provider. MHA is convinced of the bene�its of music therapy and our published study (Hsu et al., 2015) provides proof of concept. We would like to see music therapy become recognised as a standard therapy that should be available for people with dementia in the same way other therapies (e.g. physiotherapy, other medical therapies) are – so a standard ‘hygiene factor’ in care settings.
Laura Bolton
Liz Jones
Ros works or Methodist Homes (MHA), providing music therapy
Laura Bolton works as a music therapist or Methodist Homes
Liz Jones joined MHA as Head o Policy and Research in October
and delivered sessions as part o a clinical trial study. She
2014. Liz brings extensive policy experience across a wide policy
mental health needs. She additionally works as a research
completed a degree in psychology beore undertaking music
making agenda in both local and central government. She worked
assistant or the MHA music therapy service, and was involved
therapy training (Nordoff-Robbins) at Queen Margaret University
at Nottingham City Council or seven years, working in and
in the planning, implementation and analysis o a clinical
in Edinburgh. She has previously worked as both a support
then leading the Council’s Corporate Policy service and prior to
trial investigating the effects o music therapy on symptoms
worker and as a carer or the elderly blind beore working as a
that, she worked in the civil service, within the Department o
o dementia. She has a degree in Psychology and is a trained
technologist in the Department o Sleep Medicine at the Royal
Communities and Local Government.
Dementia Care Mapper.
Infirmary o Edinburgh.
Music Therapy and Dementia Care in the 21st Century
Boersma, P., van Weert, J. C. M., Lakerveld, J. & Dröes, R. M. (2015). The art of successful implementation of psychosocial interventions in residential dementia care: a systematic review of the literature based on the RE�AIM framework. International Psychogeriatrics,27, 19�35. Dugmore, O., Orrell, M., & Spector, A. (2015). Qualitative studies of psychosocial interventions for dementia: a systematic review. Journal of Aging and Mental Health [Online] Available at http://www.tandfonline.com/doi/full/10.1080/13607863.2015.1011079 [Accessed 02 June 2015]. Lawrence, V., Fossey, J., Ballard, C., Moniz-Cook, E.,& Murray, J. (2012). Improving quality of life for people with dementia in care homes: making psychosocial interventions work. British Journal of Psychiatry,201, 344�351.
Around 14,500 sessions are provided per year, helping over 1,600 residents across 55 MHA homes. Our voluntary (fundraised) income funds our music therapy (costing £500,000 per year) and it is provided without charge to bene�iciaries. We hope to quadruple the amount of music therapy – moving from the 14,500 sessions per year to 58,000 sessions by 2025. This means we need to increase our fundraised income to help us achieve this.
in care homes or older adults with dementia and enduring
28
References
Conference Programme 4�6 September 2015
29
Round table (continued) 3 Res earch toward better music therapy and dementia care practices
4 Building an interface between music therapy and standard care
Rosamund Flowerdew
Laura Bolton
Dementia care requires a concerted effort from multidisciplinary teams to address care home residents’ needs. There is currently a growing drive to use nonpharmacological interventions to manage the behavioural and psychological symptoms of dementia. The talk will highlight the pressing need to conduct further research to promote the implementation of psychosocial interventions into practice. The aims of the clinical trial commissioned by MHA will be outlined: primarily, to �ind an effective way to programme music therapy into care; and furthermore, to gather information on the mechanisms and value of music therapy in dementia care. The methods used in the project will also be discussed, in particular, the nature of care staff involvement, the use of mixed methods and technologyassisted devices, and how outcomes were obtained. Finally, the organisation’s investment in music therapy research and practice will be discussed.
Drawing from a music therapist’s experience of being involved in a clinical trial, the talk will discuss the practicality of building an interface between music therapy and standard care. How the music therapy sessions and posttherapy communication with staff were carried out as part of the data collection for the trial will be explained, particularly sensitivity around maintaining the con�identiality of the sessions. Some challenges and di�iculties impeding the delivery of the therapy sessions such as low sta�ing level encountered during the trial will be discussed. The talk highlights the need for incorporating carers’ perceptions and expertise in order to strengthen the link between music therapy and standard care.
5 MHA and music therapy – our conviction and commitment. How MHA has approached the use of music therapy across a range of dementia care homes Liz Jones This talk considers how to make music therapy a reality for a large charitable care provider. MHA is convinced of the bene�its of music therapy and our published study (Hsu et al., 2015) provides proof of concept. We would like to see music therapy become recognised as a standard therapy that should be available for people with dementia in the same way other therapies (e.g. physiotherapy, other medical therapies) are – so a standard ‘hygiene factor’ in care settings.
Boersma, P., van Weert, J. C. M., Lakerveld, J. & Dröes, R. M. (2015). The art of successful implementation of psychosocial interventions in residential dementia care: a systematic review of the literature based on the RE�AIM framework. International Psychogeriatrics,27, 19�35. Dugmore, O., Orrell, M., & Spector, A. (2015). Qualitative studies of psychosocial interventions for dementia: a systematic review. Journal of Aging and Mental Health [Online] Available at http://www.tandfonline.com/doi/full/10.1080/13607863.2015.1011079 [Accessed 02 June 2015]. Lawrence, V., Fossey, J., Ballard, C., Moniz-Cook, E.,& Murray, J. (2012). Improving quality of life for people with dementia in care homes: making psychosocial interventions work. British Journal of Psychiatry,201, 344�351.
Around 14,500 sessions are provided per year, helping over 1,600 residents across 55 MHA homes. Our voluntary (fundraised) income funds our music therapy (costing £500,000 per year) and it is provided without charge to bene�iciaries. We hope to quadruple the amount of music therapy – moving from the 14,500 sessions per year to 58,000 sessions by 2025. This means we need to increase our fundraised income to help us achieve this.
Rosamund Flowerdew
Laura Bolton
Liz Jones
Ros works or Methodist Homes (MHA), providing music therapy
Laura Bolton works as a music therapist or Methodist Homes
Liz Jones joined MHA as Head o Policy and Research in October
in care homes or older adults with dementia and enduring
and delivered sessions as part o a clinical trial study. She
2014. Liz brings extensive policy experience across a wide policy
mental health needs. She additionally works as a research
completed a degree in psychology beore undertaking music
making agenda in both local and central government. She worked
assistant or the MHA music therapy service, and was involved
therapy training (Nordoff-Robbins) at Queen Margaret University
at Nottingham City Council or seven years, working in and
in the planning, implementation and analysis o a clinical
in Edinburgh. She has previously worked as both a support
then leading the Council’s Corporate Policy service and prior to
trial investigating the effects o music therapy on symptoms
worker and as a carer or the elderly blind beore working as a
that, she worked in the civil service, within the Department o
o dementia. She has a degree in Psychology and is a trained
technologist in the Department o Sleep Medicine at the Royal
Communities and Local Government.
Dementia Care Mapper.
Infirmary o Edinburgh.
28
References
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
29
Papers 16 Emma Maclean
17 Jillian Mathews
Collaboration with nursing and occupational therapy staff to establish the role o music therapy alongside other music interventions on an inpatient ward or older people with advanced dementia
Exploring the uses o harp based music therapy in acute medicine o the elderly wards
Abstract: Vink et al. (2003) indicate that music therapy may reduce behavioural problems, stimulate language skills and enhance social/emotional functioning. However, they also state that more research needs to be done to compare active and receptive approaches and music therapy to ‘mere music listening’. Blackburn and Bradshaw (2014) came to similar conclusions but also suggested that there is no evidence to suggest that ‘the success of an MT intervention depends on being delivered by trained music therapists’ (pp.886�887). This paper is based on re�lections from clinical practice and evaluations from other professionals on a ward for older people with advanced dementia. The music therapy service currently provides one to one sessions for referred inpatients and an open group run with support from an Occupational Therapy Assistant. The OT assistant runs ad hoc music groups at other times on the ward based on singing or listening to recorded music. The Occupational Therapy Service also secured charitable funding to establish the Playlist for Life (2015)
on the ward this year, which involves families and carers working with staff to create a personalised music listening experience when they enter the setting. Music therapy has been involved in designing evaluation tools for nursing staff and the OTA to monitor the use of playlists, which will hopefully become part of standard practice. This paper will review all of these aspects of music and music therapy interventions and consider the unique provision a professionally registered music therapist might offer in terms of direct provision, advice and training. References Blackburn, R. & Bradshaw, T., 2014. Music therapy for service users with dementia: a critical review of the literature, Journal of Psychiatric and Mental Health Nursing, 21, pp.879�888. Playlist for life, 2015, Playlist for life [online] Viewed on 9th April 2015. Available from: www.playlistforlife.org.uk Vink, A.C., Bruinsma, M.S., & Scholten, R.J.P.M., 2003. Music therapy for people with dementia. Cochrane Database of Systematic Reviews, Issue 4. Art. No.: CD003477. DOI: 10.1002/14651858.CD003477.pub2.
Introduction Music therapy has been used to support people living with dementia. Over 50% of people in acute Medicine of the Elderly (MoE) wards have dementia, yet music therapy is rarely used in the acute hospital setting. We explored the feasibility of using music therapy in acute MoE wards. Aims 1 To establish the feasibility of delivering live music in an acute ward 2 To determine the impact on patients 3 To determine the environmental impact on staff/visitors 4 To identify which acute patients could most bene�it from music therapy.
Results Over 70 patients and staff were canvassed. A high percentage of patients and staff expressed enjoyment of the music. A small percentage were indifferent or said that it was “not their kind of music”. Conclusion Live music therapy interventions were delivered without disrupting other services. The overall impact on patients was positive with staff witnessing distinct calming effects with agitated or delirious patients. Some patients used singing as support for concentration. The intervention provided a more relaxed atmosphere, reducing stress levels in staff and patients. There is an ongoing need to establish the best use of music therapy in the acute setting.
Methods The acute MoE service in the Royal In�irmary of Edinburgh (RIE) comprises 140 beds across �ive wards. Following the introduction of CD players in some areas, the music therapist worked one day a week for eight weeks playing music, singing and interacting with patients. Feedback collected by clinicians and the therapist’s notes were combined in a thematic review.
Emma Maclean
Jillian Mathews
Emma Maclean, (nee Pethybridge), BA Joint Honours, PGDip Music Therapy, MA Music Therapy. Emma began working or NHS Lothian’s music
Jillian Mathews is a music therapist specialising in working with the elderly and adults with learning difficulties. She works in Medicine o the
therapy department in 2004 and is now the lead music therapist working across the children’s service and adult and older people’s mental
Elderly wards at the Royal Infirmary, Edinburgh, investigating how music therapy can treat the symptoms o dementia and delirium in an acute
health service. She has also worked as a part-time lecturer on the MSc in Music Therapy at Queen Margaret University in Scotland. Research
medical setting. Jillian has drawn inspiration rom previous research in post-stroke rehabilitation to deliver her current project, which has been
interests include partnership working and collaboration, evaluation, group work with children, adult and older people's mental health.
delivered in partnership with three consultants heading medicine o the elderly and post-stroke wards. She believes it is possible to implement an effective music therapy service in a general NHS hospital.
30
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
31
Papers 16 Emma Maclean
17 Jillian Mathews
Collaboration with nursing and occupational therapy staff to establish the role o music therapy alongside other music interventions on an inpatient ward or older people with advanced dementia
Exploring the uses o harp based music therapy in acute medicine o the elderly wards
Abstract: Vink et al. (2003) indicate that music therapy may reduce behavioural problems, stimulate language skills and enhance social/emotional functioning. However, they also state that more research needs to be done to compare active and receptive approaches and music therapy to ‘mere music listening’. Blackburn and Bradshaw (2014) came to similar conclusions but also suggested that there is no evidence to suggest that ‘the success of an MT intervention depends on being delivered by trained music therapists’ (pp.886�887). This paper is based on re�lections from clinical practice and evaluations from other professionals on a ward for older people with advanced dementia. The music therapy service currently provides one to one sessions for referred inpatients and an open group run with support from an Occupational Therapy Assistant. The OT assistant runs ad hoc music groups at other times on the ward based on singing or listening to recorded music. The Occupational Therapy Service also secured charitable funding to establish the Playlist for Life (2015)
on the ward this year, which involves families and carers working with staff to create a personalised music listening experience when they enter the setting. Music therapy has been involved in designing evaluation tools for nursing staff and the OTA to monitor the use of playlists, which will hopefully become part of standard practice. This paper will review all of these aspects of music and music therapy interventions and consider the unique provision a professionally registered music therapist might offer in terms of direct provision, advice and training. References Blackburn, R. & Bradshaw, T., 2014. Music therapy for service users with dementia: a critical review of the literature, Journal of Psychiatric and Mental Health Nursing, 21, pp.879�888. Playlist for life, 2015, Playlist for life [online] Viewed on 9th April 2015. Available from: www.playlistforlife.org.uk Vink, A.C., Bruinsma, M.S., & Scholten, R.J.P.M., 2003. Music therapy for people with dementia. Cochrane Database of Systematic Reviews, Issue 4. Art. No.: CD003477. DOI: 10.1002/14651858.CD003477.pub2.
Introduction Music therapy has been used to support people living with dementia. Over 50% of people in acute Medicine of the Elderly (MoE) wards have dementia, yet music therapy is rarely used in the acute hospital setting. We explored the feasibility of using music therapy in acute MoE wards. Aims 1 To establish the feasibility of delivering live music in an acute ward 2 To determine the impact on patients 3 To determine the environmental impact on staff/visitors 4 To identify which acute patients could most bene�it from music therapy.
Results Over 70 patients and staff were canvassed. A high percentage of patients and staff expressed enjoyment of the music. A small percentage were indifferent or said that it was “not their kind of music”. Conclusion Live music therapy interventions were delivered without disrupting other services. The overall impact on patients was positive with staff witnessing distinct calming effects with agitated or delirious patients. Some patients used singing as support for concentration. The intervention provided a more relaxed atmosphere, reducing stress levels in staff and patients. There is an ongoing need to establish the best use of music therapy in the acute setting.
Methods The acute MoE service in the Royal In�irmary of Edinburgh (RIE) comprises 140 beds across �ive wards. Following the introduction of CD players in some areas, the music therapist worked one day a week for eight weeks playing music, singing and interacting with patients. Feedback collected by clinicians and the therapist’s notes were combined in a thematic review.
Emma Maclean
Jillian Mathews
Emma Maclean, (nee Pethybridge), BA Joint Honours, PGDip Music Therapy, MA Music Therapy. Emma began working or NHS Lothian’s music
Jillian Mathews is a music therapist specialising in working with the elderly and adults with learning difficulties. She works in Medicine o the
therapy department in 2004 and is now the lead music therapist working across the children’s service and adult and older people’s mental
Elderly wards at the Royal Infirmary, Edinburgh, investigating how music therapy can treat the symptoms o dementia and delirium in an acute
health service. She has also worked as a part-time lecturer on the MSc in Music Therapy at Queen Margaret University in Scotland. Research
medical setting. Jillian has drawn inspiration rom previous research in post-stroke rehabilitation to deliver her current project, which has been
interests include partnership working and collaboration, evaluation, group work with children, adult and older people's mental health.
delivered in partnership with three consultants heading medicine o the elderly and post-stroke wards. She believes it is possible to implement an effective music therapy service in a general NHS hospital.
30
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
31
Papers 18 Ruth Melhuish
19 Jeni Melia and Sarah Russell
'Let them bring their own song': a qualitative exploration o the impact on care staff participating in music therapy or dance movement therapy groups in a care home
From isolation to inclusion: how a music therapy service can provide a gateway to urther support networks, addressing the changing needs o amilies living with dementia
Abstract: This project aimed to explore the experience and perceptions of nurses and healthcare assistants who participated regularly in music therapy or dance movement therapy groups for residents with dementia in a nursing home.
Abstract: This paper describes the development of Music 4 Memory (M4M) in Bedford Borough, and its positive impact on quality of life for families living with dementia by building a dementiafriendly community, raising awareness and reducing isolation and stigma.
Conclusion: involving care home staff in music therapy or dance movement therapy groups may be an effective means of helping to maintain and develop their communication and relationship skills, thus making an important contribution to improving quality of life in the dementia care environment.
Selected staff took part in therapy groups with residents over a six-week period, followed by individual in-depth interviews with one of the therapists. The interviews were transcribed and analysed using qualitative methods. Findings showed that the experience of taking part in the project had a signi�icant impact on care staff: •
They discovered more about residents’ individual capabilities and feelings
•
They identi�ied key elements of the therapists’ approach
•
They demonstrated a more re�lective approach to their work
•
They transferred their learning to their own practice
•
Communication and relationships with residents improved
M4M has been described as ‘an innovative, charitably-funded, community-based, long term success story’. From its inception in 2008, M4M has grown from a small group of ten to support more than two hundred people with dementia and their families/ carers across three Community Music Therapy groups and a M4M home service offering 1:1 Music therapy for those who are most isolated and unable to engage with other support services.
From February 2014, in its �irst year, 87% of M4M home service users who had previously felt isolated went on to access further support. The presentation will include power-point, current evaluation, thoughts on future development, and an illustrative case study of one family’s M4M journey from mid stage to end of life
Ruth Melhuish
Jeni Melia
Sarah Russell
Ruth Melhuish has practised music therapy in adult and older people’s mental health settings s ince 1991. She currently combines NHS work
Jeni Melia is a reelance Music Therapist working in
Sarah Russell is a ormer development officer with a national
in London with reelance employment in Worcestershire where she lives. Since 2009 she has collaborated on dementia projects with Music
Northamptonshire and Bedordshire. In her role as co-director o
dementia charity. With extensive experience in creating, building
Therapy Works (Worcester), Mindsong (Gloucester) and with Soundwell Music Therapy Trust (Bath). She has published and presented research
Tibbs Dementia Services (TDS), Jeni has developed a successul
and finding unding or projects, Sarah works to ensure the
on aspects o group work in dementia including evaluation (Melhuish 2013). Ruth is active as a clinical supervisor, pianist and singer who works
music therapy service, ‘Music 4 Memory’, or people with
success and sustainability o Music 4 Memory and the wide range
with several community choirs.
dementia and their amilies/carers in B edord Borough with
o services offered by Tibbs Dementia Services in response to the
co-director and CEO, Sarah Russell.
needs o carers and people living with dementia.
32
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
33
Papers 18 Ruth Melhuish
19 Jeni Melia and Sarah Russell
'Let them bring their own song': a qualitative exploration o the impact on care staff participating in music therapy or dance movement therapy groups in a care home
From isolation to inclusion: how a music therapy service can provide a gateway to urther support networks, addressing the changing needs o amilies living with dementia
Abstract: This project aimed to explore the experience and perceptions of nurses and healthcare assistants who participated regularly in music therapy or dance movement therapy groups for residents with dementia in a nursing home.
Abstract: This paper describes the development of Music 4 Memory (M4M) in Bedford Borough, and its positive impact on quality of life for families living with dementia by building a dementiafriendly community, raising awareness and reducing isolation and stigma.
Conclusion: involving care home staff in music therapy or dance movement therapy groups may be an effective means of helping to maintain and develop their communication and relationship skills, thus making an important contribution to improving quality of life in the dementia care environment.
Selected staff took part in therapy groups with residents over a six-week period, followed by individual in-depth interviews with one of the therapists. The interviews were transcribed and analysed using qualitative methods.
M4M has been described as ‘an innovative, charitably-funded, community-based, long term success story’. From its inception in 2008, M4M has grown from a small group of ten to support more than two hundred people with dementia and their families/ carers across three Community Music Therapy groups and a M4M home service offering 1:1 Music therapy for those who are most isolated and unable to engage with other support services.
Findings showed that the experience of taking part in the project had a signi�icant impact on care staff: •
They discovered more about residents’ individual capabilities and feelings
•
They identi�ied key elements of the therapists’ approach
•
They demonstrated a more re�lective approach to their work
•
They transferred their learning to their own practice
•
Communication and relationships with residents improved
From February 2014, in its �irst year, 87% of M4M home service users who had previously felt isolated went on to access further support. The presentation will include power-point, current evaluation, thoughts on future development, and an illustrative case study of one family’s M4M journey from mid stage to end of life
Ruth Melhuish
Jeni Melia
Sarah Russell
Ruth Melhuish has practised music therapy in adult and older people’s mental health settings s ince 1991. She currently combines NHS work
Jeni Melia is a reelance Music Therapist working in
Sarah Russell is a ormer development officer with a national
in London with reelance employment in Worcestershire where she lives. Since 2009 she has collaborated on dementia projects with Music
Northamptonshire and Bedordshire. In her role as co-director o
dementia charity. With extensive experience in creating, building
Therapy Works (Worcester), Mindsong (Gloucester) and with Soundwell Music Therapy Trust (Bath). She has published and presented research
Tibbs Dementia Services (TDS), Jeni has developed a successul
and finding unding or projects, Sarah works to ensure the
on aspects o group work in dementia including evaluation (Melhuish 2013). Ruth is active as a clinical supervisor, pianist and singer who works
music therapy service, ‘Music 4 Memory’, or people with
success and sustainability o Music 4 Memory and the wide range
with several community choirs.
dementia and their amilies/carers in B edord Borough with
o services offered by Tibbs Dementia Services in response to the
co-director and CEO, Sarah Russell.
needs o carers and people living with dementia.
32
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
33
Round table 20 Clare Monckton (Chair) , Helen Odell-Miller, Rachel Darnley-Smith, Sharon Warnes, Adrienne Freeman, Grace Watts
Abstracts rom members o the panel:
Music therapy in dementia care: Where do we go rom here
Helen Odell-Miller
Rachel Darnley-Smith
In a two-year training, it is di�icult to cover every special �ield adequately, but music therapy training courses in the UK usually incorporate basic introductions to dementia care, music therapy in this �ield and current research. Music and brain research and neurological developments are developing so that it is also crucial to introduce students to these areas, and some trainings (Anglia Ruskin University, for example), incorporate specialist music and brain lectures and have specialist staff to teach this. As a result of these developments, students in Anglia Ruskin University are increasingly choosing the �ield of dementia for their �inal dissertation. These and other questions for the future in this �ield will be addressed including drawing upon trends in other countries; for example in Germany in the University of Wurzburg, students specialise in training to work with people with dementia. Helen will also discuss how training may need to adapt in order to meet current trends.
The practice of music therapy with older adults has traditionally been taught alongside studies in psychiatric illness. A re�lective and critical understanding of standardised psychopathologies of illness is still considered an essential part of the music therapist’s knowledge base. However, at Roehampton we are also developing areas of practice-derived theoretical knowledge of the act of relating, including the mirror function of improvised and song-derived music making, affording mutual recognition where words and conscious memories are in decline. I will talk brie�ly about these ideas and how such theoretical knowledge can enable the clinical supervisor to promote the value of an authentic dialogue in and through music, prior to any functional bene�its that may also emerge through the work.
BAMT Dementia Network brings together music therapists who have a particular interest or expertise in the �ield of dementia. The network was established in 2013 in response to a global call for better dementia care and research. This roundtable presentation will discuss three identi�ied recurring themes from the BAMT Dementia Network meetings which are held twice a year. These themes include how we promote music therapy in dementia care, i.e. raising awareness of music therapy through linking with dementia-related organisations. This is followed by the theme of creating music therapy job opportunities and distinguishing ourselves as a health professional from musicians who run health-based activities.
The need and demand for establishing valid evaluation and evidence of music therapists’ work has also emerged from these themes. In addition, this leads to the question if music therapy training would need to incorporate further resources to equip trainees with knowledge and understanding required for the evolving dementia care practice. The panel consists of a public relation o�icer for BAMT, two clinicians and two educators. Each will discuss their perspectives in line with the insights gathered from the BAMT Dementia Network meetings.
Clare Monckton
Helen Odell-Miller
Rachel D arnley-Smith
Helen Odell-Miller is Proessor o Music Therapy and Director o
Rachel Darnley-Smith is Senior Lecturer in Music Therapy at
the Music or Health Research Centre. She joined Anglia Ruskin
Roehampton University. She has special interests in music
as co-ounder o the first MA Music Therapy course in the UK,
therapy with older adults, and the role o philosophical thinking
having worked as a music therapist in the NHS, pioneering music
in clinical supervision. She is author o ‘The Role o Ontology
Clare Monckton qualified with a MA in Music Therapy rom Roehampton University in 2009. She has worked ull-time or Methodist Homes
therapy in mental health. Helen is currently in the Advisory
in Music Therapy Theory and Practice’ in (eds.) Jos De Backer
since 2010, providing music therapy in care homes or older adults with dementia. In 2014, Clare presented at the World Congress o Music
Board at Aalborg University Denmark, on the international
& Julie Sutton, The Music in Music Therapy. London: Jessica
Therapy in Austria and is currently the Dementia Network Coordinator or BAMT having established the network in 2013.
PhD programme, combined with her academic role at Anglia
Kingsley Publishers, 2014.
Ruskin, teaching on the MA Music Therapy programme. Other collaborations include work with the International Consortium or Music Therapy Research and health care providers such as Methodist Homes.
34
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
35
Round table 20 Clare Monckton (Chair) , Helen Odell-Miller, Rachel Darnley-Smith, Sharon Warnes, Adrienne Freeman, Grace Watts
Abstracts rom members o the panel:
Music therapy in dementia care: Where do we go rom here
Helen Odell-Miller
Rachel Darnley-Smith
In a two-year training, it is di�icult to cover every special �ield adequately, but music therapy training courses in the UK usually incorporate basic introductions to dementia care, music therapy in this �ield and current research. Music and brain research and neurological developments are developing so that it is also crucial to introduce students to these areas, and some trainings (Anglia Ruskin University, for example), incorporate specialist music and brain lectures and have specialist staff to teach this. As a result of these developments, students in Anglia Ruskin University are increasingly choosing the �ield of dementia for their �inal dissertation. These and other questions for the future in this �ield will be addressed including drawing upon trends in other countries; for example in Germany in the University of Wurzburg, students specialise in training to work with people with dementia. Helen will also discuss how training may need to adapt in order to meet current trends.
The practice of music therapy with older adults has traditionally been taught alongside studies in psychiatric illness. A re�lective and critical understanding of standardised psychopathologies of illness is still considered an essential part of the music therapist’s knowledge base. However, at Roehampton we are also developing areas of practice-derived theoretical knowledge of the act of relating, including the mirror function of improvised and song-derived music making, affording mutual recognition where words and conscious memories are in decline. I will talk brie�ly about these ideas and how such theoretical knowledge can enable the clinical supervisor to promote the value of an authentic dialogue in and through music, prior to any functional bene�its that may also emerge through the work.
BAMT Dementia Network brings together music therapists who have a particular interest or expertise in the �ield of dementia. The network was established in 2013 in response to a global call for better dementia care and research. This roundtable presentation will discuss three identi�ied recurring themes from the BAMT Dementia Network meetings which are held twice a year. These themes include how we promote music therapy in dementia care, i.e. raising awareness of music therapy through linking with dementia-related organisations. This is followed by the theme of creating music therapy job opportunities and distinguishing ourselves as a health professional from musicians who run health-based activities.
The need and demand for establishing valid evaluation and evidence of music therapists’ work has also emerged from these themes. In addition, this leads to the question if music therapy training would need to incorporate further resources to equip trainees with knowledge and understanding required for the evolving dementia care practice. The panel consists of a public relation o�icer for BAMT, two clinicians and two educators. Each will discuss their perspectives in line with the insights gathered from the BAMT Dementia Network meetings.
Helen Odell-Miller
Rachel D arnley-Smith
Helen Odell-Miller is Proessor o Music Therapy and Director o
Rachel Darnley-Smith is Senior Lecturer in Music Therapy at
the Music or Health Research Centre. She joined Anglia Ruskin
Roehampton University. She has special interests in music
as co-ounder o the first MA Music Therapy course in the UK,
therapy with older adults, and the role o philosophical thinking
having worked as a music therapist in the NHS, pioneering music
in clinical supervision. She is author o ‘The Role o Ontology
Clare Monckton qualified with a MA in Music Therapy rom Roehampton University in 2009. She has worked ull-time or Methodist Homes
therapy in mental health. Helen is currently in the Advisory
in Music Therapy Theory and Practice’ in (eds.) Jos De Backer
since 2010, providing music therapy in care homes or older adults with dementia. In 2014, Clare presented at the World Congress o Music
Board at Aalborg University Denmark, on the international
& Julie Sutton, The Music in Music Therapy. London: Jessica
Therapy in Austria and is currently the Dementia Network Coordinator or BAMT having established the network in 2013.
PhD programme, combined with her academic role at Anglia
Kingsley Publishers, 2014.
Clare Monckton
Ruskin, teaching on the MA Music Therapy programme. Other collaborations include work with the International Consortium or Music Therapy Research and health care providers such as Methodist Homes.
34
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
35
Conference Programme 4�6 September 2015
37
Round table (continued) Abstracts rom members o the panel: Sharon Warnes
Adrienne Freeman
Grace Watts
Questions are often asked about the value of employing a music therapist rather than an entertainer/community musician, particularly regarding group work in care homes, by managers and by music therapists themselves. Why do we ask these questions? Are we unsure of our identity as music therapists and if so, why? What do we aim to achieve in our dementia groups? What is the relationship between the way we value our work and the way it is perceived by others? I will explore some of these questions and consider what role relatives have to play in all this.
Where do we go from here? A clinician’s perspective.’ This paper is set in the context of a NHS dementia service which provides music therapy group-work for out-patients and (mainly) individual sessions for in-patients experiencing advanced dementia. Clinical vignettes will illustrate the focus of music therapy sessions in comparison with the more general bene�its of those run by musicians, with the input of both contributing in a complementary manner to the musical milieu of the ward(s).
The therapeutic use of music is not limited to MTs. In fact, many people would say that they regularly engage with music on a therapeutic level within their daily lives to express themselves and communicate with others, be it through listening to a favorite piece or song, attending live performances, or playing an instrument, either on their own or with others.
The increase in numbers of people living with dementia has put pressure on existing care services – the impact of this on music therapy service delivery will be explored, including how one might approach working with a clientele where the age range encompasses several generations. In evidencing our work as music therapists, various layers of evaluation will be considered, both formal and informal. Dementia Care Mapping (Kitwood 1997) and use of a ‘nonverbal vocabulary’ (Killick 2013) have been in�luential in such measures.
How can MTs distinguish themselves as Allied Health Professionals whilst working collaboratively with other musicians and organisations to support an ever increasing demographic with complex needs? How do we �ind the right words to describe what we do? Music and its bene�its are universal, and MTs have a crucial role to play in making those bene�its widely available to all. But how MTs choose to do this will have an impact on the role it has to play in supporting and caring for people with dementia throughout the 21st Century.
References Killick, J. (2013). Dementia Positive: A Handbook Based on Lived Experiences. Edinburgh, Scotland: Luath Press Ltd. Kitwood, T. (1997). Dementia reconsidered: The person comes �irst. Maidenhead, Open University Press.
Sharon Warnes
Adrienne Freeman
Grace Watts
Sharon trained at Anglia Ruskin University 2003�2005,
Adrienne Freeman leads the music therapy team or the Older
Grace Watts is currently a senior music therapist in the NHS
graduating with distinction and has spent the past decade
Adults service within the Enfield sector o Barnet, Enfield and
working within a child development service. She is also part o
working as a music therapist, teacher and proessional violinist
Haringey Mental Health NHS Trust, where she has worked or
the UK team involved in the international collaborative TIME�A
in Warwickshire and Oxordshire. Prior to training, Sharon taught
many years. She is an experienced external examiner to Music
trial (Trial o Improvisational Music Therapy’s Effectiveness or
English and Music at HMP Gartree to men serving lie sentences.
Therapy training programmes. A BAMT registered supervisor
Children with Autism). Her clinical work experience includes
Since 2007, her music therapy work has ocussed on people with
o many years’ standing, she has extensive experience o
primary and secondary special education, adult mental health
dementia and adults with acquired brain injury; working or
supervising both qualified and student music therapists rom
and adult learning disability. Grace is also the PR Officer or the
Guideposts in Oxordshire and Headway Thames Valley. Sharon
various training backgrounds. She wrote a chapter entitled ‘The
British Association or Music Therapy. She first witnessed the
has run staff training programmes in care homes and day centres,
Elderly’ or the book ‘I ntegrated Team Working: Music Therapy as
impact o music therapy or people with dementia during a
contributed to the 2015 book “Flute, Accordion or Clarinet?” (Eds.
part o Transdisciplinary and Collaborative Approaches’, edited
volunteer placement assisting music therapy sessions.
Oldfield, Tomlinson & Loombe, JKP), won a Sue Ryder “Women
by K. Twyord and T. Watson (Jessica Kingsley Publishers, 2008).
o Achievement Award” in the “Health Carer o the Year” Category (2011), and been nominated or a “Lie Afer Stroke Award” (2015).
36
Music Therapy and Dementia Care in the 21st Century
Round table (continued) Abstracts rom members o the panel: Sharon Warnes
Adrienne Freeman
Grace Watts
Questions are often asked about the value of employing a music therapist rather than an entertainer/community musician, particularly regarding group work in care homes, by managers and by music therapists themselves. Why do we ask these questions? Are we unsure of our identity as music therapists and if so, why? What do we aim to achieve in our dementia groups? What is the relationship between the way we value our work and the way it is perceived by others? I will explore some of these questions and consider what role relatives have to play in all this.
Where do we go from here? A clinician’s perspective.’ This paper is set in the context of a NHS dementia service which provides music therapy group-work for out-patients and (mainly) individual sessions for in-patients experiencing advanced dementia. Clinical vignettes will illustrate the focus of music therapy sessions in comparison with the more general bene�its of those run by musicians, with the input of both contributing in a complementary manner to the musical milieu of the ward(s).
The therapeutic use of music is not limited to MTs. In fact, many people would say that they regularly engage with music on a therapeutic level within their daily lives to express themselves and communicate with others, be it through listening to a favorite piece or song, attending live performances, or playing an instrument, either on their own or with others.
The increase in numbers of people living with dementia has put pressure on existing care services – the impact of this on music therapy service delivery will be explored, including how one might approach working with a clientele where the age range encompasses several generations. In evidencing our work as music therapists, various layers of evaluation will be considered, both formal and informal. Dementia Care Mapping (Kitwood 1997) and use of a ‘nonverbal vocabulary’ (Killick 2013) have been in�luential in such measures.
How can MTs distinguish themselves as Allied Health Professionals whilst working collaboratively with other musicians and organisations to support an ever increasing demographic with complex needs? How do we �ind the right words to describe what we do? Music and its bene�its are universal, and MTs have a crucial role to play in making those bene�its widely available to all. But how MTs choose to do this will have an impact on the role it has to play in supporting and caring for people with dementia throughout the 21st Century.
References Killick, J. (2013). Dementia Positive: A Handbook Based on Lived Experiences. Edinburgh, Scotland: Luath Press Ltd. Kitwood, T. (1997). Dementia reconsidered: The person comes �irst. Maidenhead, Open University Press.
Sharon Warnes
Adrienne Freeman
Grace Watts
Sharon trained at Anglia Ruskin University 2003�2005,
Adrienne Freeman leads the music therapy team or the Older
Grace Watts is currently a senior music therapist in the NHS
graduating with distinction and has spent the past decade
Adults service within the Enfield sector o Barnet, Enfield and
working within a child development service. She is also part o
working as a music therapist, teacher and proessional violinist
Haringey Mental Health NHS Trust, where she has worked or
the UK team involved in the international collaborative TIME�A
in Warwickshire and Oxordshire. Prior to training, Sharon taught
many years. She is an experienced external examiner to Music
trial (Trial o Improvisational Music Therapy’s Effectiveness or
English and Music at HMP Gartree to men serving lie sentences.
Therapy training programmes. A BAMT registered supervisor
Children with Autism). Her clinical work experience includes
Since 2007, her music therapy work has ocussed on people with
o many years’ standing, she has extensive experience o
primary and secondary special education, adult mental health
dementia and adults with acquired brain injury; working or
supervising both qualified and student music therapists rom
and adult learning disability. Grace is also the PR Officer or the
Guideposts in Oxordshire and Headway Thames Valley. Sharon
various training backgrounds. She wrote a chapter entitled ‘The
British Association or Music Therapy. She first witnessed the
has run staff training programmes in care homes and day centres,
Elderly’ or the book ‘I ntegrated Team Working: Music Therapy as
impact o music therapy or people with dementia during a
contributed to the 2015 book “Flute, Accordion or Clarinet?” (Eds.
part o Transdisciplinary and Collaborative Approaches’, edited
volunteer placement assisting music therapy sessions.
Oldfield, Tomlinson & Loombe, JKP), won a Sue Ryder “Women
by K. Twyord and T. Watson (Jessica Kingsley Publishers, 2008).
o Achievement Award” in the “Health Carer o the Year” Category (2011), and been nominated or a “Lie Afer Stroke Award” (2015).
36
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
37
Papers 21 Jane Moulton
22 Kathryn Nall and Bethan Shrubsole
'Mum playing the piano, me dancing on the stairs': rom the sharing o individual stories to building a sense o community and group identity through a creative songwriting project
'Reflections on enhancing the quality o interactions or people with dementia through music therapy inormed by theories o Tom Kitwood and ideas rom systemic amily therapy'
Abstract: The Partnership in Care is a family-run business offering nursing and residential care in homes across Suffolk. Through Suffolk Music Therapy Services, I work as a music therapist in three of the homes.
Purpose: To consider two hypotheses in relation to whether music therapy can be validated as an intervention in the care and treatment plans of people living with dementia.
This paper will describe the setting-up and running of a songwriting group at one of the residential homes. Eight residents from different backgrounds and with different functional and cognitive abilities, including those in different stages of dementia, took part in the songwriting group, co-writing and performing an original song at an annual awards ceremony.
I will discuss my role in the project and how my background as a singer/songwriter, in addition to my music therapy training, in�luenced my methods, approach and analysis of individual and group processes. To conclude, I will re�lect on the value of the songwriting process and the function and extended life of the created song for those involved. Observations and re�lections from staff at the home, members of the audience at the live performance and the residents themselves will be included.
Music therapy makes a signi�icant contribution to improving the quality of care available to people with dementia by enhancing interactions and ways of relating. That ideas from theories of systemic family therapy can be helpful in rede�ining ways of thinking and re�lecting about dementia and its consequences for individuals and their carers.
The song and lyrics created by the residents will be presented.
The stages of the songwriting process will be outlined, from initial discussions with staff and residents to the creation of the song and the subsequent live performance by the songwriters, other residents and staff.
Methods: To consider how music therapy can enhance the quality of interactions and improve the quality of care for people with dementia drawing on the ideas of Tom Kitwood (1997), with reference to recent research by Riddell.
To consider theories from Systemic Family Therapy including ideas on re�lexivity, re�lection and enactment, in relation to the practice of music therapy with an individual client and his partner. To re�lect on implications of these ideas for work with groups of clients and their carers in the community.
Evidence: Case material relating to two groups of clients suffering from the effects of dementia over a period of two years in residential homes. Presentation of current work with a gentleman suffering from dementia and aphasia by Bethan Shrubsole.
To illustrate this, I will draw on my MA which focused on the role of song in music therapy and how this could be seen to enhance the quality of all 12 types of interaction as de�ined by Kitwood.
Jane Moulton
Kathryn Nall
Bethan Shrubsole
Jane Moulton worked as a proessional musician in various pop bands prior to qualiying rom Anglia Ruskin University,Cambridge as a music
Kathryn divides her career between social work and music
Bethan ounded the Ugandan organisation "Music or Peaceul
therapist in 2010. Since then she has worked in dementia care in 11 different residential homes across London and Suffolk. She has worked or
therapy.Her work has included music therapy or people with
Minds" and spent our years in Uganda delivering music
Suffolk Music Therapy Services since 2011, working with children and adults with learning disabilities, children in mainstream schools with
dementia and work in schools with Cambridgeshire Music, or
therapy services to war-traumatised children and those
emotional and behavioural difficulties and the elderly.
whom she is developing new work to include adults. Kathryn also
with special needs. She now lives in the UK and works or
works as a social worker with Looked Afer Children and in 2014,
CambridgeshireMusic.
completed the oundation level o the Advanced Certificate in SystemicPractice.
38
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
39
Papers 21 Jane Moulton
22 Kathryn Nall and Bethan Shrubsole
'Mum playing the piano, me dancing on the stairs': rom the sharing o individual stories to building a sense o community and group identity through a creative songwriting project
'Reflections on enhancing the quality o interactions or people with dementia through music therapy inormed by theories o Tom Kitwood and ideas rom systemic amily therapy'
Abstract: The Partnership in Care is a family-run business offering nursing and residential care in homes across Suffolk. Through Suffolk Music Therapy Services, I work as a music therapist in three of the homes.
Purpose: To consider two hypotheses in relation to whether music therapy can be validated as an intervention in the care and treatment plans of people living with dementia.
This paper will describe the setting-up and running of a songwriting group at one of the residential homes. Eight residents from different backgrounds and with different functional and cognitive abilities, including those in different stages of dementia, took part in the songwriting group, co-writing and performing an original song at an annual awards ceremony.
I will discuss my role in the project and how my background as a singer/songwriter, in addition to my music therapy training, in�luenced my methods, approach and analysis of individual and group processes. To conclude, I will re�lect on the value of the songwriting process and the function and extended life of the created song for those involved. Observations and re�lections from staff at the home, members of the audience at the live performance and the residents themselves will be included.
Music therapy makes a signi�icant contribution to improving the quality of care available to people with dementia by enhancing interactions and ways of relating. That ideas from theories of systemic family therapy can be helpful in rede�ining ways of thinking and re�lecting about dementia and its consequences for individuals and their carers.
The song and lyrics created by the residents will be presented.
Methods: To consider how music therapy can enhance the quality of interactions and improve the quality of care for people with dementia drawing on the ideas of Tom Kitwood (1997), with reference to recent research by Riddell.
The stages of the songwriting process will be outlined, from initial discussions with staff and residents to the creation of the song and the subsequent live performance by the songwriters, other residents and staff.
To consider theories from Systemic Family Therapy including ideas on re�lexivity, re�lection and enactment, in relation to the practice of music therapy with an individual client and his partner. To re�lect on implications of these ideas for work with groups of clients and their carers in the community.
Evidence: Case material relating to two groups of clients suffering from the effects of dementia over a period of two years in residential homes. Presentation of current work with a gentleman suffering from dementia and aphasia by Bethan Shrubsole.
To illustrate this, I will draw on my MA which focused on the role of song in music therapy and how this could be seen to enhance the quality of all 12 types of interaction as de�ined by Kitwood.
Jane Moulton
Kathryn Nall
Bethan Shrubsole
Jane Moulton worked as a proessional musician in various pop bands prior to qualiying rom Anglia Ruskin University,Cambridge as a music
Kathryn divides her career between social work and music
Bethan ounded the Ugandan organisation "Music or Peaceul
therapist in 2010. Since then she has worked in dementia care in 11 different residential homes across London and Suffolk. She has worked or
therapy.Her work has included music therapy or people with
Minds" and spent our years in Uganda delivering music
Suffolk Music Therapy Services since 2011, working with children and adults with learning disabilities, children in mainstream schools with
dementia and work in schools with Cambridgeshire Music, or
therapy services to war-traumatised children and those
emotional and behavioural difficulties and the elderly.
whom she is developing new work to include adults. Kathryn also
with special needs. She now lives in the UK and works or
works as a social worker with Looked Afer Children and in 2014,
CambridgeshireMusic.
completed the oundation level o the Advanced Certificate in SystemicPractice.
38
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
39
Papers 23 Wai Man Ng
24 Alice Nicholls
Music therapy or people with mild cognitive impairment: An early intervention beore progressing toward dementia
Memory lane: Community music therapy within a multidisciplinary team working with older adults with dementia
Abstract: Belleville (2008) states that people with Mild Cognitive Impairment (MCI) are at risk of developing Alzheimer’s disease or other types of dementia. Gates et al. (2011) also mention that 10% to 15% of people with MCI will progress toward dementia. Therefore, early intervention for people with MCI is necessary and of great worth.
Abstract: Music therapy, and musical activity in general, are now more commonly used interventions for older adults with dementia. Advances in neurology and psychology have shown that engagement with music can in�luence moods and emotions, though it is still somewhat unclear as to why this is. This community arts project explored the use of different art forms and arts activities, including music therapy and group music-making, with a group of residents with dementia at a care home. As part of this multidisciplinary team, I had a somewhat ambiguous role, being a music therapist in a broadly non-therapies based project, and I also explore the challenges this brought in this presentation. Despite initial di�iculties in
A pilot study was conducted in Hong Kong in 2013. Forty elderly people with MCI were recruited in the study by randomized controlled trial method. Twenty participants joined a 12-session music therapy group conducted by a music therapist. Another twenty participants joined a 12-session cognitive intervention programme (control group) without musical elements conducted by social welfare workers. Both programme contents were cooperatively designed by an occupational therapist and a music therapist. The contents of the cognitive intervention programme consisted of attention, memory, cognitive training, education of memory strategies, general cognitive stimulation and compensatory cognitive rehabilitation. The music therapy group included all these cognitive-training contents with a wide range of music therapy elements, such as singing new songs, improvisation, and musical-cognitive games.
Cognitive and psychosocial assessments were administered before and after the programme. Relative to the control groups, the music therapy groups demonstrated signi�icant improvements in the Mini-mental State Examination (MMSE), Montreal Cognitive Assessment (MoCa), Category Verbal Fluency Test (VFT), Lawton Instrumental Activities of Daily Living Scale (IADL) and Geriatric Depression Scale (GDS�SF). The results indicated that 12 sessions of music therapy with cognitive-training elements had bene�icial effects in cognition, daily functioning and mood in elderly persons with MCI. References
setting up the work, the team discovered over the course of the project that those residents who attended the arts sessions regularly showed less agitated behaviour, more engagement with the staff and the team, more social engagement with each other, and an improved mood and willingness to participate in the sessions. Although it was not music therapy in the strictest sense, this work did have therapeutic bene�its for the residents. Further research could perhaps be conducted into the effectiveness of combined arts activities with a therapeutic focus, or multidisciplinary work which includes but is not limited to arts therapies, as a treatment intervention for older adults with dementia.
Belleville, S. (2008). Cognitive Training for Persons with Mild Cognitive Impairment. InternationalPsychogeriatrics,20:1, 57�66. Gates, N. J., Sachdev, P. S., Flatarone Dingh, M. A., Valenzuela, M. (2011). Cognitive and Memory Training in Adults at Risk of Dementia: A Systematic Review. BMC Geriatrics, 11:55.
Wai Man Ng
Alice Nicholls
Wai Man Ng is a Registered Music Therapist and GIM Therapist in Hong Kong. He graduated rom the Hong Kong Academy or Perorming Arts,
Alice Nicholls qualified rom Anglia Ruskin University in 2013, and is now working as a Music Therapist in West Yorkshire primarily within
majoring in Chinese Music. He received ormal music therapy training rom the University o Roehampton and Anglia Ruskin University.
special needs education. However, she has retained a special interest in music therapy in dementia care afer a clinical placement with MHA
He is the director o the Proessional Music Therapy Centre in Hong Kong, Adjunct Assistant Proessor and Clinical Supervisor or the local
and wrote her MA major project on the topic o music and memory in music therapy with older adults with dementia.
and overseas universities. He is currently undertaking PhD study at the University o Melbourne ocusing on The Application o Chinese Music and Chinese Philosophy in Guided Imagery and Music supervised by Pro. Denise Grocke.
40
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
41
Papers 23 Wai Man Ng
24 Alice Nicholls
Music therapy or people with mild cognitive impairment: An early intervention beore progressing toward dementia
Memory lane: Community music therapy within a multidisciplinary team working with older adults with dementia
Abstract: Belleville (2008) states that people with Mild Cognitive Impairment (MCI) are at risk of developing Alzheimer’s disease or other types of dementia. Gates et al. (2011) also mention that 10% to 15% of people with MCI will progress toward dementia. Therefore, early intervention for people with MCI is necessary and of great worth.
Abstract: Music therapy, and musical activity in general, are now more commonly used interventions for older adults with dementia. Advances in neurology and psychology have shown that engagement with music can in�luence moods and emotions, though it is still somewhat unclear as to why this is. This community arts project explored the use of different art forms and arts activities, including music therapy and group music-making, with a group of residents with dementia at a care home. As part of this multidisciplinary team, I had a somewhat ambiguous role, being a music therapist in a broadly non-therapies based project, and I also explore the challenges this brought in this presentation. Despite initial di�iculties in
A pilot study was conducted in Hong Kong in 2013. Forty elderly people with MCI were recruited in the study by randomized controlled trial method. Twenty participants joined a 12-session music therapy group conducted by a music therapist. Another twenty participants joined a 12-session cognitive intervention programme (control group) without musical elements conducted by social welfare workers. Both programme contents were cooperatively designed by an occupational therapist and a music therapist. The contents of the cognitive intervention programme consisted of attention, memory, cognitive training, education of memory strategies, general cognitive stimulation and compensatory cognitive rehabilitation. The music therapy group included all these cognitive-training contents with a wide range of music therapy elements, such as singing new songs, improvisation, and musical-cognitive games.
Cognitive and psychosocial assessments were administered before and after the programme. Relative to the control groups, the music therapy groups demonstrated signi�icant improvements in the Mini-mental State Examination (MMSE), Montreal Cognitive Assessment (MoCa), Category Verbal Fluency Test (VFT), Lawton Instrumental Activities of Daily Living Scale (IADL) and Geriatric Depression Scale (GDS�SF). The results indicated that 12 sessions of music therapy with cognitive-training elements had bene�icial effects in cognition, daily functioning and mood in elderly persons with MCI. References
setting up the work, the team discovered over the course of the project that those residents who attended the arts sessions regularly showed less agitated behaviour, more engagement with the staff and the team, more social engagement with each other, and an improved mood and willingness to participate in the sessions. Although it was not music therapy in the strictest sense, this work did have therapeutic bene�its for the residents. Further research could perhaps be conducted into the effectiveness of combined arts activities with a therapeutic focus, or multidisciplinary work which includes but is not limited to arts therapies, as a treatment intervention for older adults with dementia.
Belleville, S. (2008). Cognitive Training for Persons with Mild Cognitive Impairment. InternationalPsychogeriatrics,20:1, 57�66. Gates, N. J., Sachdev, P. S., Flatarone Dingh, M. A., Valenzuela, M. (2011). Cognitive and Memory Training in Adults at Risk of Dementia: A Systematic Review. BMC Geriatrics, 11:55.
Wai Man Ng
Alice Nicholls
Wai Man Ng is a Registered Music Therapist and GIM Therapist in Hong Kong. He graduated rom the Hong Kong Academy or Perorming Arts,
Alice Nicholls qualified rom Anglia Ruskin University in 2013, and is now working as a Music Therapist in West Yorkshire primarily within
majoring in Chinese Music. He received ormal music therapy training rom the University o Roehampton and Anglia Ruskin University.
special needs education. However, she has retained a special interest in music therapy in dementia care afer a clinical placement with MHA
He is the director o the Proessional Music Therapy Centre in Hong Kong, Adjunct Assistant Proessor and Clinical Supervisor or the local
and wrote her MA major project on the topic o music and memory in music therapy with older adults with dementia.
and overseas universities. He is currently undertaking PhD study at the University o Melbourne ocusing on The Application o Chinese Music and Chinese Philosophy in Guided Imagery and Music supervised by Pro. Denise Grocke.
40
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
41
Papers 25 David Nicholson
26 Elizabeth Nightingale
Boundary and space: Exploring the potential implications that 'in the moment relating' has on the music therapy dementia group and the therapeutic rame it operates within
Music therapy with couples: Restoring a lost connection in dementia care
Abstract: With any client group the therapist seeks to relate ‘in the moment’, and for clients who have an awareness of their past and future, the therapist also works with the resistance and defences of lived ‘past impingements’ arising from an individual’s unique maturational journey (Winnicott, 1990). Concrete boundaries, such as the consistency of time, place and the therapist’s own dependability, become vital therapeutic tools in creating a therapeutic frame safe enough for these resonances from the past to be thought about and explored within the present ‘here and now’ relating of the transference relationship. However, in the dementia setting, clients come with more fragmented connections to past and future. Interactions take place in the moment, and clients themselves live much more in the present moment. The boundaries that have traditionally established the therapeutic frame no longer appear as relevant in de�ining this central prism through which relating takes place. Indeed, they can become obstacles and barriers to exploring the freedom and spontaneity of ‘in the moment relating’. For the Dementia Client, when is a session not a
session? Is a consistent group membership important? Are these distinctions important to hold on to? Who needs these boundaries more, therapist or client? I will explore how my psychodynamic understanding of the role of the therapeutic frame within the dementia group setting has had to evolve as I have adapted my approach to hold and value the preciousness and freedom that our ‘in the moment interactions’ can have.
Abstract: Literature on music therapy with an informal caregiver such as a partner is emerging, though this form of practice has generally received less attention. Clinical work in this context typically focuses on how the person with dementia’s responses to music can be used to establish a new medium of communication. However, given the psychological distress and low self-esteem that often accompanies those that assume a caregiver role, it is equally important to recognise their needs and responses and how music therapy might provide essential support. Music-making stimulates the person with dementia’s unimpaired functioning and enables these couples to counter the general loss of mutuality in their relationship by sharing in something of equal value and pleasure.
This paper will present a case study of music therapy between Mike and Heather Haines where Mike had dementia. The initial and emerging therapeutic aims will be presented in addition to the therapeutic approaches that were employed. Heather’s feedback on how these sessions impacted both her and their relationship will be included, in addition to how the wider family is now using music to interact meaningfully with Mike. The paper will close with recommendations and suggested outcome measures for adoption in future projects.
I will examine how this revised therapeutic frame supports me in my capacity to create an ongoing space within which the music therapy group takes place, and which supports the unique qualities that group music-making has to ‘in the moment connectedness’ and to each individual’s capacity to experience a personal sense of aliveness. References Winnicott, D W. (1990). The maturational processes and the facilitating environment. London: Karnac.
David Nicholson
Elizabeth Nightingale
I trained as a music therapist at Guildhall School o Music and Drama, graduating in 1999. Since qualification I have worked continuously
Elizabeth completed an MSc in Music Therapy at Queen Margaret University in Scotland. Whilst in Scotland, Elizabeth worked reelance or
within the NHS, largely or West London Mental Health Trust in adult mental health. This has been across a number o clinical settings ranging
Fie Council and Barchester Healthcare working with adults with neurological and mental disorders. She additionally worked at Sunflower
rom music therapy provision within the inpatient psychiatric unit, and group work within both inpatient and community-based dementia
Garden with children and young people affected by substance misuse in their amilies. I n 2015, she relocated back to Surrey and now works
settings. I use a psychodynamic approach to thinking about this work, drawing on ideas rom the object relations school, in particular those o
with Chiltern Music Therapy, practicing across a range o client groups in various residential homes and charities across the South East.
Winnicott and Bion.
Elizabeth had music therapy work published in this year’s March/April issue o the Journal o Dementia Care.
42
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
43
Papers 25 David Nicholson
26 Elizabeth Nightingale
Boundary and space: Exploring the potential implications that 'in the moment relating' has on the music therapy dementia group and the therapeutic rame it operates within
Music therapy with couples: Restoring a lost connection in dementia care
Abstract: With any client group the therapist seeks to relate ‘in the moment’, and for clients who have an awareness of their past and future, the therapist also works with the resistance and defences of lived ‘past impingements’ arising from an individual’s unique maturational journey (Winnicott, 1990). Concrete boundaries, such as the consistency of time, place and the therapist’s own dependability, become vital therapeutic tools in creating a therapeutic frame safe enough for these resonances from the past to be thought about and explored within the present ‘here and now’ relating of the transference relationship. However, in the dementia setting, clients come with more fragmented connections to past and future. Interactions take place in the moment, and clients themselves live much more in the present moment. The boundaries that have traditionally established the therapeutic frame no longer appear as relevant in de�ining this central prism through which relating takes place. Indeed, they can become obstacles and barriers to exploring the freedom and spontaneity of ‘in the moment relating’. For the Dementia Client, when is a session not a
session? Is a consistent group membership important? Are these distinctions important to hold on to? Who needs these boundaries more, therapist or client? I will explore how my psychodynamic understanding of the role of the therapeutic frame within the dementia group setting has had to evolve as I have adapted my approach to hold and value the preciousness and freedom that our ‘in the moment interactions’ can have.
Abstract: Literature on music therapy with an informal caregiver such as a partner is emerging, though this form of practice has generally received less attention. Clinical work in this context typically focuses on how the person with dementia’s responses to music can be used to establish a new medium of communication. However, given the psychological distress and low self-esteem that often accompanies those that assume a caregiver role, it is equally important to recognise their needs and responses and how music therapy might provide essential support. Music-making stimulates the person with dementia’s unimpaired functioning and enables these couples to counter the general loss of mutuality in their relationship by sharing in something of equal value and pleasure.
This paper will present a case study of music therapy between Mike and Heather Haines where Mike had dementia. The initial and emerging therapeutic aims will be presented in addition to the therapeutic approaches that were employed. Heather’s feedback on how these sessions impacted both her and their relationship will be included, in addition to how the wider family is now using music to interact meaningfully with Mike. The paper will close with recommendations and suggested outcome measures for adoption in future projects.
I will examine how this revised therapeutic frame supports me in my capacity to create an ongoing space within which the music therapy group takes place, and which supports the unique qualities that group music-making has to ‘in the moment connectedness’ and to each individual’s capacity to experience a personal sense of aliveness. References Winnicott, D W. (1990). The maturational processes and the facilitating environment. London: Karnac.
David Nicholson
Elizabeth Nightingale
I trained as a music therapist at Guildhall School o Music and Drama, graduating in 1999. Since qualification I have worked continuously
Elizabeth completed an MSc in Music Therapy at Queen Margaret University in Scotland. Whilst in Scotland, Elizabeth worked reelance or
within the NHS, largely or West London Mental Health Trust in adult mental health. This has been across a number o clinical settings ranging
Fie Council and Barchester Healthcare working with adults with neurological and mental disorders. She additionally worked at Sunflower
rom music therapy provision within the inpatient psychiatric unit, and group work within both inpatient and community-based dementia
Garden with children and young people affected by substance misuse in their amilies. I n 2015, she relocated back to Surrey and now works
settings. I use a psychodynamic approach to thinking about this work, drawing on ideas rom the object relations school, in particular those o
with Chiltern Music Therapy, practicing across a range o client groups in various residential homes and charities across the South East.
Winnicott and Bion.
Elizabeth had music therapy work published in this year’s March/April issue o the Journal o Dementia Care.
42
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
43
Papers 27 Josie Nugent
28 Kerrie O’Connor
Attention, arousal, dialogue?! Approaches towards acilitating occasional music therapy interventions or adults with dementia in Northern Ireland
Would you like a song?: The transormative power o a simple question in group music therapy or individuals with dementia
Abstract: This paper will examine factors that in�luence the facilitation of occasional group and individual music therapy interventions for people with dementia in Northern Ireland and the adaptation of a clinical music therapy approach to meet participant needs (Ridder, 2003).
Abstract: This paper looks back on a four year group music therapy programme with residents on a dementia unit in a long-term care facility. It considers the evolution of the group and in particular, the pivotal role played by the therapist-posed question “would you like a song” to each group member.
Factors prevalent in Northern Ireland include the fact that participants come from a society emerging from over 40 years of con�lict where sectarianism and trans-generational trauma exist (Sutton, 2002). In this society, nothing is neutral; certain kinds of music, musical instruments and song lyrics are contentious and therefore one must be sensitive to these realities to avoid further alienation of the client in this group setting. The use of creative activities, for example bodymovement songs and composed songs, greatly facilitate arousal and dialogue in these sessions, as does the use of my �irst instrument, the violin (Nugent, 2012), and my folk music background with decades of experience bonding musically in the moment to encourage engagement with others. An all-important factor is the trauma of dementia itself and how it affects both client and carer as they partake in something new: a music therapy intervention.
This paper will illustrate the adaption of the above-mentioned activities in a four-step music therapy approach: attention, arousal, dialogue and conclusion; and how this can reach out to engage and connect with participants when facilitating occasional music therapy interventions. References Nugent, J. (2012) The Fiddle and its role as a symbolic creative therapeutic tool in music therapy. In: Proceedings of the North Atlantic Fiddle Convention 2012, Derry / Londonderry. Ridder, H.M. (2003) Singing dialogue. Music therapy with persons in advanced stages of dementia. Ph.D. thesis, Institute for Music and Music therapy, Aalborg University. Sutton, J.P. (2003) Music, Music Therapy and Trauma, International Perspectives, London: Jessica Kingsley Publishers.
This paper concludes that individuals with dementia can explore life and its meaning in songs that are signi�icant to them and that these can be elicited as outlined. The appendix includes a complete list of songs and their themes spontaneously suggested by residents in response to this question.
A protocol around asking this question was developed and is outlined together with snapshots of the music therapy group before and subsequent to its implementation. Three case vignettes are presented, each describing how this question was used with an individual resident to explore an area of their life in a way that they did not in conventional communication.
Josie Nugent
Kerrie O’Connor
Josie Nugent graduated with a master’s degree in Music Therapy at Anglia Ruskin University, Cambridge, 2010. Prior to becoming a music
Kerrie O’Connor graduated as a Music Therapist in 2009 rom the University o Limerick. She works in Ireland dividing her time between
therapist, she pursued a post-doctorate research career in biological sciences. She currently provides music therapy services in dementia, adult
two long-term care acilities and private practise where she works with individuals with dementia, older adults or those with an acquired injury.
group therapy,autism and learning difficulties across Northern Ireland and works as an outreach music therapist or The Alzheimer’s Society
She is committed to the proessionalization o music therapy in Ireland and has just concluded a three year voluntary term with the Irish
and Music T herapy Connections Northern Ireland. Web site address: http://www.scmmt.org
accrediting body or music therapists holding positions o executive council member, treasurer and administrator.
44
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
45
Papers 27 Josie Nugent
28 Kerrie O’Connor
Attention, arousal, dialogue?! Approaches towards acilitating occasional music therapy interventions or adults with dementia in Northern Ireland
Would you like a song?: The transormative power o a simple question in group music therapy or individuals with dementia
Abstract: This paper will examine factors that in�luence the facilitation of occasional group and individual music therapy interventions for people with dementia in Northern Ireland and the adaptation of a clinical music therapy approach to meet participant needs (Ridder, 2003).
Abstract: This paper looks back on a four year group music therapy programme with residents on a dementia unit in a long-term care facility. It considers the evolution of the group and in particular, the pivotal role played by the therapist-posed question “would you like a song” to each group member.
Factors prevalent in Northern Ireland include the fact that participants come from a society emerging from over 40 years of con�lict where sectarianism and trans-generational trauma exist (Sutton, 2002). In this society, nothing is neutral; certain kinds of music, musical instruments and song lyrics are contentious and therefore one must be sensitive to these realities to avoid further alienation of the client in this group setting. The use of creative activities, for example bodymovement songs and composed songs, greatly facilitate arousal and dialogue in these sessions, as does the use of my �irst instrument, the violin (Nugent, 2012), and my folk music background with decades of experience bonding musically in the moment to encourage engagement with others. An all-important factor is the trauma of dementia itself and how it affects both client and carer as they partake in something new: a music therapy intervention.
This paper will illustrate the adaption of the above-mentioned activities in a four-step music therapy approach: attention, arousal, dialogue and conclusion; and how this can reach out to engage and connect with participants when facilitating occasional music therapy interventions. References Nugent, J. (2012) The Fiddle and its role as a symbolic creative therapeutic tool in music therapy. In: Proceedings of the North Atlantic Fiddle Convention 2012, Derry / Londonderry. Ridder, H.M. (2003) Singing dialogue. Music therapy with persons in advanced stages of dementia. Ph.D. thesis, Institute for Music and Music therapy, Aalborg University. Sutton, J.P. (2003) Music, Music Therapy and Trauma, International Perspectives, London: Jessica Kingsley Publishers.
This paper concludes that individuals with dementia can explore life and its meaning in songs that are signi�icant to them and that these can be elicited as outlined. The appendix includes a complete list of songs and their themes spontaneously suggested by residents in response to this question.
A protocol around asking this question was developed and is outlined together with snapshots of the music therapy group before and subsequent to its implementation. Three case vignettes are presented, each describing how this question was used with an individual resident to explore an area of their life in a way that they did not in conventional communication.
Josie Nugent
Kerrie O’Connor
Josie Nugent graduated with a master’s degree in Music Therapy at Anglia Ruskin University, Cambridge, 2010. Prior to becoming a music
Kerrie O’Connor graduated as a Music Therapist in 2009 rom the University o Limerick. She works in Ireland dividing her time between
therapist, she pursued a post-doctorate research career in biological sciences. She currently provides music therapy services in dementia, adult
two long-term care acilities and private practise where she works with individuals with dementia, older adults or those with an acquired injury.
group therapy,autism and learning difficulties across Northern Ireland and works as an outreach music therapist or The Alzheimer’s Society
She is committed to the proessionalization o music therapy in Ireland and has just concluded a three year voluntary term with the Irish
and Music T herapy Connections Northern Ireland. Web site address: http://www.scmmt.org
accrediting body or music therapists holding positions o executive council member, treasurer and administrator.
44
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
45
Papers 29 Sally A. Pestell
30 Emma Phillipson
Dancing to my tune: A clinical music therapy approach or people with dementia
Drawing clients into the 'present' through use o voice
Abstract: This paper is a personal narrative of my �inal placement as a music therapy student in a privately run residential home for people with dementia that has a person-centred care approach. It identi�ies the common strands that exist between music therapy and dementia, which I believe can be woven together to support social and psychological needs. It traces the sea change that Kitwood affected on dementia care at the turn of the 21st century and how the work of music therapists has developed in this area to dovetail neatly into this exciting approach.
Dementia is a shared, ‘lived’ experience, but through the aegis of music therapy, a new dynamic for hope and positivity is now being established by focusing on the uniqueness that every person has to convey their humanity and connectedness through this vital medium of the expressive arts.
Abstract: This paper will outline a clinical technique I have developed whilst working with older adults with severe dementia. My approach focuses on using improvised vocalisations to draw clients out of an ‘absent’ state and into a ‘present’ state. To explain this, I will clearly de�ine what I mean by ‘absent’ and ‘present’ and discuss some literature that uses these terms (mainly within the realms of philosophy). I will also highlight how this technique was in�luenced by my major project whilst studying (Titled: ‘The Use of Silence in Music Therapy’) and the writings of Julie Sutton, who wrote about absence and presence within silences. I will then demonstrate the technique by showing two clinical examples using either audio or video clips. They will both show how I use different sounds to mirror,
create suspense and match non-verbal clients with severe dementia who then seem to become ‘present’ in the room with me and start interacting. I will conclude by highlighting how important it is to �ind these moments of presence in order to facilitate interaction and also how important it is to hand over information about your work to relatives; if relatives are able to promote your work within the care home setting, then this provides a good foundation for further funding towards music therapy at that speci�ic home.
I illustrate the ‘highs and lows’ of setting up music therapy practice where none has existed before; from the initial observation of residents to understand what living with dementia means for them on a daily basis, to the negotiation of a mutually acceptable clinical model of individual sessions and formation of an open music therapy group. I put forward the case of how music therapy can preserve the ‘sense of self’ and identity in a person with dementia whilst also improving the quality of life and wellbeing for them, their family and for those providing care.
Sally A. Pestell
Emma Phillipson
Sally is currently in her final year o studying or a Music Therapy MA at Bristol UWE. Afer an extensive career teaching primary school
Emma is a Music Therapist in her first year o qualiying. She studied at Anglia Ruskin University and is a first study classical singer. Alongside
children she had responsibility or teaching music throughout both Key Stages, and decided to embark on a career change that would ulfil her
a ellow classmate, Emma set up an extra placement, in addition to the ones given at university, at a care home working with older adults with
growing interest in using music as therapy to make a difference to the lives o those who were struggling to cope. She had witnessed the power
dementia. Since qualiying in July 2014, together with her classmate she was able to acquire unding to continue the work at that same care
o music to build sel-esteem and bring about change and transormation in underachieving children and wanted to extend her learning and
home. Emma also works on a sel-employed basis at a day centre or older adults with dementia and with children 1�14 years old who have
experience to help other vulnerable groups in a variety o settings.
lie-threateningillnesses.
46
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
47
Papers 29 Sally A. Pestell
30 Emma Phillipson
Dancing to my tune: A clinical music therapy approach or people with dementia
Drawing clients into the 'present' through use o voice
Abstract: This paper is a personal narrative of my �inal placement as a music therapy student in a privately run residential home for people with dementia that has a person-centred care approach. It identi�ies the common strands that exist between music therapy and dementia, which I believe can be woven together to support social and psychological needs. It traces the sea change that Kitwood affected on dementia care at the turn of the 21st century and how the work of music therapists has developed in this area to dovetail neatly into this exciting approach.
Dementia is a shared, ‘lived’ experience, but through the aegis of music therapy, a new dynamic for hope and positivity is now being established by focusing on the uniqueness that every person has to convey their humanity and connectedness through this vital medium of the expressive arts.
Abstract: This paper will outline a clinical technique I have developed whilst working with older adults with severe dementia. My approach focuses on using improvised vocalisations to draw clients out of an ‘absent’ state and into a ‘present’ state. To explain this, I will clearly de�ine what I mean by ‘absent’ and ‘present’ and discuss some literature that uses these terms (mainly within the realms of philosophy). I will also highlight how this technique was in�luenced by my major project whilst studying (Titled: ‘The Use of Silence in Music Therapy’) and the writings of Julie Sutton, who wrote about absence and presence within silences. I will then demonstrate the technique by showing two clinical examples using either audio or video clips. They will both show how I use different sounds to mirror,
create suspense and match non-verbal clients with severe dementia who then seem to become ‘present’ in the room with me and start interacting. I will conclude by highlighting how important it is to �ind these moments of presence in order to facilitate interaction and also how important it is to hand over information about your work to relatives; if relatives are able to promote your work within the care home setting, then this provides a good foundation for further funding towards music therapy at that speci�ic home.
I illustrate the ‘highs and lows’ of setting up music therapy practice where none has existed before; from the initial observation of residents to understand what living with dementia means for them on a daily basis, to the negotiation of a mutually acceptable clinical model of individual sessions and formation of an open music therapy group. I put forward the case of how music therapy can preserve the ‘sense of self’ and identity in a person with dementia whilst also improving the quality of life and wellbeing for them, their family and for those providing care.
Sally A. Pestell
Emma Phillipson
Sally is currently in her final year o studying or a Music Therapy MA at Bristol UWE. Afer an extensive career teaching primary school
Emma is a Music Therapist in her first year o qualiying. She studied at Anglia Ruskin University and is a first study classical singer. Alongside
children she had responsibility or teaching music throughout both Key Stages, and decided to embark on a career change that would ulfil her
a ellow classmate, Emma set up an extra placement, in addition to the ones given at university, at a care home working with older adults with
growing interest in using music as therapy to make a difference to the lives o those who were struggling to cope. She had witnessed the power
dementia. Since qualiying in July 2014, together with her classmate she was able to acquire unding to continue the work at that same care
o music to build sel-esteem and bring about change and transormation in underachieving children and wanted to extend her learning and
home. Emma also works on a sel-employed basis at a day centre or older adults with dementia and with children 1�14 years old who have
experience to help other vulnerable groups in a variety o settings.
lie-threateningillnesses.
46
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
47
Papers 31 Cathy Richards and Iain Spink
32 Marianne Rizkallah
Side by side with tea, pills and blood pressure: music therapy on NHS hospital wards or people with dementia
Music therapy in an acute elderly inpatient setting: Establishing and evaluating a new post
Abstract: During a recent meeting of the BAMT Dementia Network group, it was identi�ied that most of the dementia work in the UK happens in residential care homes, and that work on hospital wards is relatively rare. Furthermore, an NIHR systematic review in 2014 of interventions for older adults with dementia which supported the use of music therapy focused almost entirely on care homes. This paper will focus on the presenters’ work on NHS hospital wards for people with dementia, providing an insight into this area of work. By necessity this work is multidisciplinary as we are each the only music therapist working on hospital wards alongside a range of quali�ied and unquali�ied staff from medical, therapy and psychology professions.
There are many issues and challenges that arise when delivering therapy sessions in busy ward environments. Some of these will be identi�ied and discussed along with strategies and ways of working to maximise patient and staff engagement. We will draw on our current work in two different clinical settings: •
Acute assessment wards
•
Continuing care wards.
In each area, we will explore clinical work, multi-disciplinary work, and ways of inputting into patients’ long term care. Some of the differences will be highlighted and we will explore how this impacts on our work.
We will describe how we work with staff both within and outside clinical sessions including video/audio examples and descriptions of our work and settings.
Cathy Richards
Iain Spink
Cathy qualified rom Roehampton Institute o Higher Education
Iain qualified rom Anglia Ruskin University in 2007. He also
in 1991. She worked in London at Friern and St Ann’s hospitals in
works as Music Therapist or RLSB with visually impaired
different areas o mental health, including dementia, and then
young people and Holding On Letting Go, a charity that supports
rom 1994 at Forest Healthcare Trust with adults with learning
bereaved children. Iain has previously presented papers or the
disabilities and autism. In 2002, Cathy moved to Kent and
BAMT and European Congress o Music Therapy.
worked on a sel-employed basis with adults and children with learning disabilities and autism beore returning to work or the NHS with people with dementia in 2008. Cathy has presented at
Abstract: This paper describes an overview and evaluation of a new music therapy post established in an acute elderly inpatient setting. It will consider the results of a short trial using the MiDAS outcome measure (McDermott et al., 2014), implemented to assess anecdotal qualitative outcomes.
Anecdotal outcomes were identi�ied: increased alertness and verbal/non-verbal communication, positive change in mood, consent to other therapies previously refused. The MiDAS outcome measure was used from April 2015 to formally assess the identi�ied outcomes. The paper will consider the trial results.
The work takes place in two wards with a rapidly changing patient population and with a signi�icant proportion of patients diagnosed with dementia. What was initially advertised as a community music role for three months developed into a music therapy role over the course of eighteen months, with several short-term funding applications granted. Music therapy joined a multidisciplinary team of physiotherapists, occupational therapists and speech and language therapists. Early group work transitioned into individual sessions which proved to be more appropriate to patient need. Pre-composed music was primarily used, leading to improvisation or verbal re�lection from patients. This paper also provides a brief overview of the existing use of music therapy with people with dementia and how this informed my approach. Work was done to integrate music therapy into a constantly changing multidisciplinary team; as the junior members rotate clinical specialisms every four months, music therapy training was delivered for each new team.
Marianne Rizkallah Marianne Rizkallah holds a BA in Popular and World Music rom the University o Leeds and qualified as Music Therapist rom the Guildhall School o Music and Drama in 2013. She has worked with children and adults with autism, emotional and behavioural difficulties, learning disabilities and dementia, and has worked extensively in the third s ector and in the NHS. In addition, she has developed music therapy training or use by associated proessionals in the workplace. Marianne has also worked as a community musician, running singing groups or people with dementia.
conerences in Canada and the UK.
48
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
49
Papers 31 Cathy Richards and Iain Spink
32 Marianne Rizkallah
Side by side with tea, pills and blood pressure: music therapy on NHS hospital wards or people with dementia
Music therapy in an acute elderly inpatient setting: Establishing and evaluating a new post
Abstract: During a recent meeting of the BAMT Dementia Network group, it was identi�ied that most of the dementia work in the UK happens in residential care homes, and that work on hospital wards is relatively rare. Furthermore, an NIHR systematic review in 2014 of interventions for older adults with dementia which supported the use of music therapy focused almost entirely on care homes. This paper will focus on the presenters’ work on NHS hospital wards for people with dementia, providing an insight into this area of work. By necessity this work is multidisciplinary as we are each the only music therapist working on hospital wards alongside a range of quali�ied and unquali�ied staff from medical, therapy and psychology professions.
There are many issues and challenges that arise when delivering therapy sessions in busy ward environments. Some of these will be identi�ied and discussed along with strategies and ways of working to maximise patient and staff engagement. We will draw on our current work in two different clinical settings: •
Acute assessment wards
•
Continuing care wards.
In each area, we will explore clinical work, multi-disciplinary work, and ways of inputting into patients’ long term care. Some of the differences will be highlighted and we will explore how this impacts on our work.
We will describe how we work with staff both within and outside clinical sessions including video/audio examples and descriptions of our work and settings.
Cathy Richards
Iain Spink
Cathy qualified rom Roehampton Institute o Higher Education
Iain qualified rom Anglia Ruskin University in 2007. He also
in 1991. She worked in London at Friern and St Ann’s hospitals in
works as Music Therapist or RLSB with visually impaired
different areas o mental health, including dementia, and then
young people and Holding On Letting Go, a charity that supports
rom 1994 at Forest Healthcare Trust with adults with learning
bereaved children. Iain has previously presented papers or the
disabilities and autism. In 2002, Cathy moved to Kent and
BAMT and European Congress o Music Therapy.
Abstract: This paper describes an overview and evaluation of a new music therapy post established in an acute elderly inpatient setting. It will consider the results of a short trial using the MiDAS outcome measure (McDermott et al., 2014), implemented to assess anecdotal qualitative outcomes.
Anecdotal outcomes were identi�ied: increased alertness and verbal/non-verbal communication, positive change in mood, consent to other therapies previously refused. The MiDAS outcome measure was used from April 2015 to formally assess the identi�ied outcomes. The paper will consider the trial results.
The work takes place in two wards with a rapidly changing patient population and with a signi�icant proportion of patients diagnosed with dementia. What was initially advertised as a community music role for three months developed into a music therapy role over the course of eighteen months, with several short-term funding applications granted. Music therapy joined a multidisciplinary team of physiotherapists, occupational therapists and speech and language therapists. Early group work transitioned into individual sessions which proved to be more appropriate to patient need. Pre-composed music was primarily used, leading to improvisation or verbal re�lection from patients. This paper also provides a brief overview of the existing use of music therapy with people with dementia and how this informed my approach. Work was done to integrate music therapy into a constantly changing multidisciplinary team; as the junior members rotate clinical specialisms every four months, music therapy training was delivered for each new team.
Marianne Rizkallah Marianne Rizkallah holds a BA in Popular and World Music rom the University o Leeds and qualified as Music Therapist rom the Guildhall School o Music and Drama in 2013. She has worked with children and adults with autism, emotional and behavioural difficulties, learning disabilities and dementia, and has worked extensively in the third s ector and in the NHS. In addition, she has developed music therapy training
worked on a sel-employed basis with adults and children with
or use by associated proessionals in the workplace. Marianne has also worked as a community musician, running singing groups or people
learning disabilities and autism beore returning to work or the
with dementia.
NHS with people with dementia in 2008. Cathy has presented at conerences in Canada and the UK.
48
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
49
Papers 33 Ellie Ruddock
34 Richard Sanderson
'The impact o music therapy on the patient, the institution, the wider community and the cost o care: exploring the benefits o providing a music therapy service as part o a multi-disciplinary team'
A musical journey through dementia: Examples rom practice
Abstract: This presentation will explore, contrast and compare the importance of music therapy in community and residential settings using qualitative and quantitative data. In the current economic climate and with the rebuilding of our National Health System, the importance of reducing government expenditure on outpatient and inpatient services is particularly relevant to music therapists working with mental illness – particularly the impact of dementia – in older adults. Therefore, the aims of this study are: 1
Case studies, outcome measure tool results (Chiltern Music Therapy’s grid system), and statistics will be used to analyse the impact of music therapy at three levels: individual patients, the institution and the wider community. Aims of music therapy will be discussed as they relate to the outcomes of those receiving short-term and long-term music therapy in both community and residential settings. The bene�its of including music therapy as a core discipline within the team will be discussed.
To explore the bene�its for providing treatment as part of the multi-disciplinary team in the community in order to keep inpatient levels lower, which would also bene�it the individuals involved and their families as well as decreasing the pressure on institutions
Abstract: This presentation will focus on the clinical practice of musiccentred music therapy and its impact on individuals living with dementia in a residential care home setting. ‘A Musical Journey Through Dementia’ will take the listener through several extracts of music therapy work with people living with different stages of the illness. The aim is to highlight particular aspects and techniques of clinical improvisational music making, which all serve to connect with and reach the vital essence of personhood present in every individual. The video clips will be arranged broadly in progressive order, i.e. starting with people with medium stage dementia and �inishing with people with advanced dementia. In this way, both the different facets of the illness and the particular musical techniques used to connect with each individual will
be made apparent. Further attention will be given to music therapy techniques used on different musical instruments such as piano, guitar, accordion and voice. The thinking will be underpinned by the therapist’s grounding in the core principles of the Nordoff Robbins music-centred approach to music therapy. The work presented stems from ten years of music therapy practice delivered in a Barchester care home ‘memory lane’ community in collaboration with Nordoff Robbins. An example of such a video extract can be viewed at: www.nordoff-robbins.org.uk/content/what-we-do/case-studies
2 To explore how to decrease the impact on cost on the institution for those already in residential care.
Ellie Ruddock
Richard Sanderson
Ellie Ruddock is a Music Therapist working or Chiltern Music Therapy. She trained at Roehampton and graduated in 2013, and since then
Richard Sanderson has worked as a Music Therapist in the UK and Germany since 1997 and in the field o dementia since 2005. He is a tutor on
has trained as a Neurologic Music Therapist and is planning to undertake MATADOC training later this year. Ellie works with many different
the Nordoff Robbins Master o Music Therapy programme. In the Barchester Care Awards 2013, he received a ‘Special Recognition Award or
client groups, including older adults in care and in the community, and recently carried out a pilot ‘Music For All’ project with a large nursing
outstanding achievement in the field o Dementia Care’. He is co-author o the article, ‘The ‘ripple effect’: Towards researching improvisational
home provider in Buckinghamshire. Ellie uses a mixture o psychodynamic and Neurologic techniques with clients, as well as considering
music therapy in dementia care-homes’ (Dementia: http://dem.sagepub.com/). He has presented his work at various conerences, most recently
behavioural approaches.
at ‘Music, Drama and Dementia’ held at the University o Salord’s Institute or Dementia.
50
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
51
Papers 33 Ellie Ruddock
34 Richard Sanderson
'The impact o music therapy on the patient, the institution, the wider community and the cost o care: exploring the benefits o providing a music therapy service as part o a multi-disciplinary team'
A musical journey through dementia: Examples rom practice
Abstract: This presentation will explore, contrast and compare the importance of music therapy in community and residential settings using qualitative and quantitative data. In the current economic climate and with the rebuilding of our National Health System, the importance of reducing government expenditure on outpatient and inpatient services is particularly relevant to music therapists working with mental illness – particularly the impact of dementia – in older adults. Therefore, the aims of this study are: 1
Case studies, outcome measure tool results (Chiltern Music Therapy’s grid system), and statistics will be used to analyse the impact of music therapy at three levels: individual patients, the institution and the wider community. Aims of music therapy will be discussed as they relate to the outcomes of those receiving short-term and long-term music therapy in both community and residential settings. The bene�its of including music therapy as a core discipline within the team will be discussed.
To explore the bene�its for providing treatment as part of the multi-disciplinary team in the community in order to keep inpatient levels lower, which would also bene�it the individuals involved and their families as well as decreasing the pressure on institutions
Abstract: This presentation will focus on the clinical practice of musiccentred music therapy and its impact on individuals living with dementia in a residential care home setting. ‘A Musical Journey Through Dementia’ will take the listener through several extracts of music therapy work with people living with different stages of the illness. The aim is to highlight particular aspects and techniques of clinical improvisational music making, which all serve to connect with and reach the vital essence of personhood present in every individual. The video clips will be arranged broadly in progressive order, i.e. starting with people with medium stage dementia and �inishing with people with advanced dementia. In this way, both the different facets of the illness and the particular musical techniques used to connect with each individual will
be made apparent. Further attention will be given to music therapy techniques used on different musical instruments such as piano, guitar, accordion and voice. The thinking will be underpinned by the therapist’s grounding in the core principles of the Nordoff Robbins music-centred approach to music therapy. The work presented stems from ten years of music therapy practice delivered in a Barchester care home ‘memory lane’ community in collaboration with Nordoff Robbins. An example of such a video extract can be viewed at: www.nordoff-robbins.org.uk/content/what-we-do/case-studies
2 To explore how to decrease the impact on cost on the institution for those already in residential care.
Ellie Ruddock
Richard Sanderson
Ellie Ruddock is a Music Therapist working or Chiltern Music Therapy. She trained at Roehampton and graduated in 2013, and since then
Richard Sanderson has worked as a Music Therapist in the UK and Germany since 1997 and in the field o dementia since 2005. He is a tutor on
has trained as a Neurologic Music Therapist and is planning to undertake MATADOC training later this year. Ellie works with many different
the Nordoff Robbins Master o Music Therapy programme. In the Barchester Care Awards 2013, he received a ‘Special Recognition Award or
client groups, including older adults in care and in the community, and recently carried out a pilot ‘Music For All’ project with a large nursing
outstanding achievement in the field o Dementia Care’. He is co-author o the article, ‘The ‘ripple effect’: Towards researching improvisational
home provider in Buckinghamshire. Ellie uses a mixture o psychodynamic and Neurologic techniques with clients, as well as considering
music therapy in dementia care-homes’ (Dementia: http://dem.sagepub.com/). He has presented his work at various conerences, most recently
behavioural approaches.
at ‘Music, Drama and Dementia’ held at the University o Salord’s Institute or Dementia.
50
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
51
Papers 35 Ann Sloboda
36 Rachel Smith
Sonata reormed – a vital link or a musical man with dementia
'Working with groups and individuals: Musical pathways in dementia care'
Abstract: This presentation will discuss the use of pre-composed classical music with J, a man in his early seventies with severe dementia who had lost most of his functional speech and understanding of the spoken or written word. A highly educated, cultured and literary man, he was a well-trained musician and the author of books that he could no longer decipher.
Abstract: Using a series of case studies, this presentation will explore a variety of musical interventions that someone living with dementia might access, from community singing groups to individual music therapy in a residential setting, and the potential bene�its for them and their families and carers at each stage. It will also look at different aspects of practice, from the perspectives of both music therapy and community music. It will draw on existing literature and qualitative re�lections from practice both as a community musician and as a music therapist.
Attempts to engage him in therapeutic day activities had proved unsuccessful due to his incapacity to understand verbal instruction, and anxiety and confusion about what was expected of him.
These bene�its corresponded with many of those identi�ied by Powell (2006) in her evaluative study of music therapy with older people. An unfamiliar approach to adopt by a music therapist accustomed to the use of improvised rather than pre-composed musical material, this approach nevertheless supported several of the areas of psychological need for someone with dementia proposed by Kitwood (1997), notably comfort, inclusion, identity and occupation. References
I will give an account of weekly individual sessions over a period of two years, and describe how the shared activity of playing (solo) piano sonatas as a duet, together from the written score, emerged as the means for a therapeutic relationship to develop and be maintained over a sustained period.
Powell, H. (2006) The voice of experience: evaluation of music therapy with older people including those with dementia , in community location. British Journal of Music Therapy. Vol.20.no2. Kitwood, T. ( 1997) Dementia Reconsidered , Open University Press.
The presentation will use accounts of the activity in sessions, with recorded examples, to discuss how the combination of: •
physical repetition of known material,
•
the use of the score as a "map" to orientate both parties in a shared understanding of the task, time and place, contributed to a reduction in anxiety, a maintenance of cognitive skills and a connection to a vital aspect of his identity that was still possible to experience in shared understanding with another person.
Re�lections and case studies will be drawn from three settings. Firstly, a community-based singing group for people living with dementia and their carers (often spouses) which caters to people in the early to moderate stages of dementia. The second is an acute mental health setting – a hospital ward for assessment and treatment of mental health problems including dementia for people over the age of sixty-�ive. The third is a large residential care home with provision for dementia and nursing care.
Looking at each of these settings, this presentation will show how individuals' needs are addressed within a variety of formats of music-making and music therapy. It will seek to further the discourse around the use of music therapy and community music in the context of dementia care, and make the case for more integrated musical pathways, both between different environments and within a single environment. References Quin, A. (2014). Embedding Innovation into the Counterpoint of Music Therapy Practice Today: Keynote Speech, BAMT Conference, February 2014. British Journal of Music Therapy, Vol. 28, No.2. Wood, S., Verney, R., & Atkinson, J. (2004). From Therapy to Community: Neurological Rehabilitation. In M. Pavlicevic & G. Ansdell (Eds.), Community Music Therapy. London: Jessica Kingsley Publishers.
Ann Sloboda
Rachel Smith
Ann Sloboda is Head o Music Therapy at the Guildhall School o Music and Drama. She is a qualified psychoanalyst, a member o the British
Prior to training as a Music Therapist, Rachel worked in the field o arts and health as a community musician, ocussing on singing with older
Psychoanalytical Society and is registered with the BCP (British Psychoanalytic Council) and the HCPC (Health Care Proessions Council).
adults, people living with dementia, mental health problems and brain injuries. Afer qualiying rom Nordoff Robbins, she lived in the US or a
She studied music at Oxord and qualified as a music therapist in 1985. Between 1985 and 2005 s he worked as a music therapist in the NHS in
year, gaining experience working with adults with learning disabilities and in early years. She now lives in Oxord and works with Guideposts
the fields o adult learning disability, eating disorders, general psychiatry and orensic psychiatry. A past chair o the Association o Proessional
Music Therapy and Chiltern Music Therapy working with a range o client groups including children in mainstream and special education.
Music Therapists, she was Head o Arts Therapies at West London Mental Health Trust or 10 years. She provides consultations to music therapists working in the health, voluntary and education sectors.
52
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
53
Papers 35 Ann Sloboda
36 Rachel Smith
Sonata reormed – a vital link or a musical man with dementia
'Working with groups and individuals: Musical pathways in dementia care'
Abstract: This presentation will discuss the use of pre-composed classical music with J, a man in his early seventies with severe dementia who had lost most of his functional speech and understanding of the spoken or written word. A highly educated, cultured and literary man, he was a well-trained musician and the author of books that he could no longer decipher.
Abstract: Using a series of case studies, this presentation will explore a variety of musical interventions that someone living with dementia might access, from community singing groups to individual music therapy in a residential setting, and the potential bene�its for them and their families and carers at each stage. It will also look at different aspects of practice, from the perspectives of both music therapy and community music. It will draw on existing literature and qualitative re�lections from practice both as a community musician and as a music therapist.
Attempts to engage him in therapeutic day activities had proved unsuccessful due to his incapacity to understand verbal instruction, and anxiety and confusion about what was expected of him.
These bene�its corresponded with many of those identi�ied by Powell (2006) in her evaluative study of music therapy with older people. An unfamiliar approach to adopt by a music therapist accustomed to the use of improvised rather than pre-composed musical material, this approach nevertheless supported several of the areas of psychological need for someone with dementia proposed by Kitwood (1997), notably comfort, inclusion, identity and occupation. References
I will give an account of weekly individual sessions over a period of two years, and describe how the shared activity of playing (solo) piano sonatas as a duet, together from the written score, emerged as the means for a therapeutic relationship to develop and be maintained over a sustained period.
Powell, H. (2006) The voice of experience: evaluation of music therapy with older people including those with dementia , in community location. British Journal of Music Therapy. Vol.20.no2. Kitwood, T. ( 1997) Dementia Reconsidered , Open University Press.
The presentation will use accounts of the activity in sessions, with recorded examples, to discuss how the combination of: •
physical repetition of known material,
•
the use of the score as a "map" to orientate both parties in a shared understanding of the task, time and place, contributed to a reduction in anxiety, a maintenance of cognitive skills and a connection to a vital aspect of his identity that was still possible to experience in shared understanding with another person.
Re�lections and case studies will be drawn from three settings. Firstly, a community-based singing group for people living with dementia and their carers (often spouses) which caters to people in the early to moderate stages of dementia. The second is an acute mental health setting – a hospital ward for assessment and treatment of mental health problems including dementia for people over the age of sixty-�ive. The third is a large residential care home with provision for dementia and nursing care.
Looking at each of these settings, this presentation will show how individuals' needs are addressed within a variety of formats of music-making and music therapy. It will seek to further the discourse around the use of music therapy and community music in the context of dementia care, and make the case for more integrated musical pathways, both between different environments and within a single environment. References Quin, A. (2014). Embedding Innovation into the Counterpoint of Music Therapy Practice Today: Keynote Speech, BAMT Conference, February 2014. British Journal of Music Therapy, Vol. 28, No.2. Wood, S., Verney, R., & Atkinson, J. (2004). From Therapy to Community: Neurological Rehabilitation. In M. Pavlicevic & G. Ansdell (Eds.), Community Music Therapy. London: Jessica Kingsley Publishers.
Ann Sloboda
Rachel Smith
Ann Sloboda is Head o Music Therapy at the Guildhall School o Music and Drama. She is a qualified psychoanalyst, a member o the British
Prior to training as a Music Therapist, Rachel worked in the field o arts and health as a community musician, ocussing on singing with older
Psychoanalytical Society and is registered with the BCP (British Psychoanalytic Council) and the HCPC (Health Care Proessions Council).
adults, people living with dementia, mental health problems and brain injuries. Afer qualiying rom Nordoff Robbins, she lived in the US or a
She studied music at Oxord and qualified as a music therapist in 1985. Between 1985 and 2005 s he worked as a music therapist in the NHS in
year, gaining experience working with adults with learning disabilities and in early years. She now lives in Oxord and works with Guideposts
the fields o adult learning disability, eating disorders, general psychiatry and orensic psychiatry. A past chair o the Association o Proessional
Music Therapy and Chiltern Music Therapy working with a range o client groups including children in mainstream and special education.
Music Therapists, she was Head o Arts Therapies at West London Mental Health Trust or 10 years. She provides consultations to music therapists working in the health, voluntary and education sectors.
52
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
Papers
Poster
37 Iain Spink
38 Neta Spiro, Camilla Farrant and Mercédès Pavlicevic
Staying in the groove: Music therapy with a musician with dementia
The relationship between practice and policy: Music therapy and the dementia strategy, 2009
53
(presented as a poster presentation) Abstract: This paper will focus on individual music therapy sessions with “Bert”, a gentleman living with dementia on an NHS continuing care hospital ward. Video and audio examples will be shown to illustrate the work and provide insight into the therapeutic relationship. Music and music making has been an important part of Bert’s life and he is an experienced musician familiar with a variety of instruments. The onset of dementia has resulted in cognitive impairments including speech and language di�iculties that affect his relationships and interactions with others. Bert currently has good mobility and is physically able to play the guitar, keyboard and a variety of percussion instruments. He is usually very keen to play musical instruments when given the opportunity, and it can clearly have a stimulating and positive affect on his mood and behaviour. Bert also attends a weekly music therapy group offered by the therapist.
This paper will include several themes and points of re�lection, including: •
Working with a person with dementia who has preserved musical skills; helping to maintain these skills and the creative expression of the individual.
•
Can music therapy help to preserve a person’s sense of self and identity?
•
What impact does interactive music making have on mood and behaviour and what can it offer to the person?
•
Re�lections on individual and group work with the same person.
Abstract: Does current music therapy practice address the goals encapsulated in the UK dementia strategy published in 2009? The views of clients, family members, music therapists, care home staff and care home management were collected through a survey focussing on the relationship between music therapy and the dementia strategy objectives. The results showed that those objectives that are related to direct activity of the music therapists (such as care and understanding of the condition) were seen as most ful�illed by music therapy, while those regarding practicalities (such as living within the community) were seen as least ful�illed. Although the responses
from the four groups of participants were similar, differences for some questions suggest that people’s direct experience of music therapy in�luences their views on the link between music therapy practice and the dementia strategy. This study suggests that many aspects of the dementia strategy are already seen as being achieved in music therapy. The �indings suggest that developments of both music therapy practices and government strategies on dementia care may bene�it from being mutually informed.
Existing music therapy literature and studies relating to the themes will be referenced during the presentation.
Iain Spink
Neta Spiro, Camilla Farrant, Mercédès Pavlicevic
Iain qualified rom Anglia Ruskin University in 2007. He also works as Music Therapist or RLSB with visually impaired young people and
Dr Neta Spiro, Camilla Farrant, and Pro. Mercédès Pavlicevic are based at the Research Department, Nordoff Robbins, London Centre. In
Holding On Letting Go, a charity that supports bereaved children. Iain has previously presented papers or the BAMT and European Congress
addition, Neta Spiro teaches at the Faculty o Music, University o Cambridge; Camilla Farrant is Head Music Therapist at Music Therapy
o Music Therapy.
Tree which specialises i n providing music therapy to vulnerable children in mainstream education; and Mercédès Pavlicevic is Research Associate at the School or Oriental and Arican Studies (SOAS), University o London and teaches on the Music T herapy Master's Programme at the University o Pretoria, South Arica.
54
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
55
Papers
Poster
37 Iain Spink
38 Neta Spiro, Camilla Farrant and Mercédès Pavlicevic
Staying in the groove: Music therapy with a musician with dementia
The relationship between practice and policy: Music therapy and the dementia strategy, 2009 (presented as a poster presentation)
Abstract: This paper will focus on individual music therapy sessions with “Bert”, a gentleman living with dementia on an NHS continuing care hospital ward. Video and audio examples will be shown to illustrate the work and provide insight into the therapeutic relationship. Music and music making has been an important part of Bert’s life and he is an experienced musician familiar with a variety of instruments. The onset of dementia has resulted in cognitive impairments including speech and language di�iculties that affect his relationships and interactions with others. Bert currently has good mobility and is physically able to play the guitar, keyboard and a variety of percussion instruments. He is usually very keen to play musical instruments when given the opportunity, and it can clearly have a stimulating and positive affect on his mood and behaviour. Bert also attends a weekly music therapy group offered by the therapist.
This paper will include several themes and points of re�lection, including: •
Working with a person with dementia who has preserved musical skills; helping to maintain these skills and the creative expression of the individual.
•
Can music therapy help to preserve a person’s sense of self and identity?
•
What impact does interactive music making have on mood and behaviour and what can it offer to the person?
•
Re�lections on individual and group work with the same person.
Abstract: Does current music therapy practice address the goals encapsulated in the UK dementia strategy published in 2009? The views of clients, family members, music therapists, care home staff and care home management were collected through a survey focussing on the relationship between music therapy and the dementia strategy objectives. The results showed that those objectives that are related to direct activity of the music therapists (such as care and understanding of the condition) were seen as most ful�illed by music therapy, while those regarding practicalities (such as living within the community) were seen as least ful�illed. Although the responses
from the four groups of participants were similar, differences for some questions suggest that people’s direct experience of music therapy in�luences their views on the link between music therapy practice and the dementia strategy. This study suggests that many aspects of the dementia strategy are already seen as being achieved in music therapy. The �indings suggest that developments of both music therapy practices and government strategies on dementia care may bene�it from being mutually informed.
Existing music therapy literature and studies relating to the themes will be referenced during the presentation.
Iain Spink
Neta Spiro, Camilla Farrant, Mercédès Pavlicevic
Iain qualified rom Anglia Ruskin University in 2007. He also works as Music Therapist or RLSB with visually impaired young people and
Dr Neta Spiro, Camilla Farrant, and Pro. Mercédès Pavlicevic are based at the Research Department, Nordoff Robbins, London Centre. In
Holding On Letting Go, a charity that supports bereaved children. Iain has previously presented papers or the BAMT and European Congress
addition, Neta Spiro teaches at the Faculty o Music, University o Cambridge; Camilla Farrant is Head Music Therapist at Music Therapy
o Music Therapy.
Tree which specialises i n providing music therapy to vulnerable children in mainstream education; and Mercédès Pavlicevic is Research Associate at the School or Oriental and Arican Studies (SOAS), University o London and teaches on the Music T herapy Master's Programme at the University o Pretoria, South Arica.
54
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
Papers
Workshop
39 Gea van Straaten
40 Giorgos Tsiris and Camilla Farrant
Experience-adjusted music therapy in dementia care (rom a psychodynamic perspective)
Evaluating music therapy services in dementia care settings: A "hands-on" workshop
Abstract: Research shows that persons with cognitive dementia continue to react to their illness, even long after insight into their illness has disappeared. The awareness context of loss of identity and autonomy leads to existential angst. This feeling makes individuals with dementia vulnerable and causes problem behaviours (Van der Kooij, 2002; Verdult, 2004; Bu ijssen 2007; Miesen, 2008; Verbraeck & Van der Plaats, 2008).
Abstract: Evaluation is essential for the development and sustainability of music therapy services. Its functional and context-speci�ic nature can allow and promote a broader understanding of music therapy services while considering the broader social, economic, musical and cultural aspects of daily practice. This broader understanding is vital – especially within the current evidence-driven healthcare climate where the emphasis is mainly on research and assessment initiatives geared to 'proving' e�icacy and, at the very least, change in the client (Raw et al., 2012).
In this paper van Straaten presents a theoretical explanation of experience-adjusted music therapy as a psychodynamic form of caregiving of which the therapeutic relationship and the parameters in music ensure a shared musical experience. Emotional awareness (by the person with dementia) of this shared musical experience can lead to a transformation of behaviour and emotional expression.
To understand the person with dementia, the music therapist must project into his state of reality.
Drawing from the presenters’ substantial experience of designing and implementing bespoke evaluation projects, this workshop explores how ecologically attentive evaluations can help respond to the demand for evidence and contribute to the development of music therapy services (Tsiris, Pavlicevic, & Farrant, 2014). Particular attention will be given to the speci�icities of conducting evaluation projects within dementia care settings. This includes consideration of dementia-related music therapy aims and the respective evaluation aims in relation to sector-speci�ic policies and emerging ‘impact areas’. Workshop participants will have the opportunity to explore the relevance of particular data collection tools and ‘impact areas’ in relation to dementia care settings. While considering not
55
only the people who are diagnosed with dementia, but also the whole ecology of dementia care settings to include residents’ families, staff members, and the organisation as a whole (Pavlicevic et al., 2013), participants will explore how monitoring and evaluation procedures, as a viable evidence resource, can be integrated as part of their everyday practice in such settings. References Pavlicevic, M., Tsiris, G., Wood, S., Powell, H., Graham, J., Sanderson, R., et al. (2013). The ‘ripple effect’: Towards researching improvisational music therapy in dementia care-homes. Dementia: The International Journal of Social Research and Practice, Advance online publication. Raw, A., Lewis, S., Russell, A., & Macnaughton, J. (2012). A hole in the heart: confronting the drive for evidence-based impact research in arts and health. Arts & Health, 4(2), 97�108. Tsiris, G., Pavlicevic, M., & Farrant, C. (2014). A Guide to Evaluation for Arts Therapists and Arts & Health Practitioners. London: Jessica Kingsley.
Gea van Straaten
Giorgos Tsiris
Camilla Farrant
Gea van Straaten has worked in elderly care since she graduated with a Bachelor o Music Therapy at Artez Institute o the Arts, Enschede in
Giorgos Tsiris is a researcher at Nordoff Robbins and music
Camilla Farrant is a research assistant at Nordoff Robbins and
1994. In 2012, she graduated rom Zuyd University o Applied Sciences as Master o Arts (MMTh); additionally, she successully completely NMT
therapist at St Christopher’s Hospice. He is the editor o
head music therapist at Music Therapy Tree which specialises
ellowship training in 2012.
Approaches: Music Therapy & Special Music Education.
in providing music therapy to vulnerable children in mainstreameducation.
56
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
57
Papers
Workshop
39 Gea van Straaten
40 Giorgos Tsiris and Camilla Farrant
Experience-adjusted music therapy in dementia care (rom a psychodynamic perspective)
Evaluating music therapy services in dementia care settings: A "hands-on" workshop
Abstract: Research shows that persons with cognitive dementia continue to react to their illness, even long after insight into their illness has disappeared. The awareness context of loss of identity and autonomy leads to existential angst. This feeling makes individuals with dementia vulnerable and causes problem behaviours (Van der Kooij, 2002; Verdult, 2004; Bu ijssen 2007; Miesen, 2008; Verbraeck & Van der Plaats, 2008).
Abstract: Evaluation is essential for the development and sustainability of music therapy services. Its functional and context-speci�ic nature can allow and promote a broader understanding of music therapy services while considering the broader social, economic, musical and cultural aspects of daily practice. This broader understanding is vital – especially within the current evidence-driven healthcare climate where the emphasis is mainly on research and assessment initiatives geared to 'proving' e�icacy and, at the very least, change in the client (Raw et al., 2012).
In this paper van Straaten presents a theoretical explanation of experience-adjusted music therapy as a psychodynamic form of caregiving of which the therapeutic relationship and the parameters in music ensure a shared musical experience. Emotional awareness (by the person with dementia) of this shared musical experience can lead to a transformation of behaviour and emotional expression.
To understand the person with dementia, the music therapist must project into his state of reality.
Drawing from the presenters’ substantial experience of designing and implementing bespoke evaluation projects, this workshop explores how ecologically attentive evaluations can help respond to the demand for evidence and contribute to the development of music therapy services (Tsiris, Pavlicevic, & Farrant, 2014). Particular attention will be given to the speci�icities of conducting evaluation projects within dementia care settings. This includes consideration of dementia-related music therapy aims and the respective evaluation aims in relation to sector-speci�ic policies and emerging ‘impact areas’. Workshop participants will have the opportunity to explore the relevance of particular data collection tools and ‘impact areas’ in relation to dementia care settings. While considering not
only the people who are diagnosed with dementia, but also the whole ecology of dementia care settings to include residents’ families, staff members, and the organisation as a whole (Pavlicevic et al., 2013), participants will explore how monitoring and evaluation procedures, as a viable evidence resource, can be integrated as part of their everyday practice in such settings. References Pavlicevic, M., Tsiris, G., Wood, S., Powell, H., Graham, J., Sanderson, R., et al. (2013). The ‘ripple effect’: Towards researching improvisational music therapy in dementia care-homes. Dementia: The International Journal of Social Research and Practice, Advance online publication. Raw, A., Lewis, S., Russell, A., & Macnaughton, J. (2012). A hole in the heart: confronting the drive for evidence-based impact research in arts and health. Arts & Health, 4(2), 97�108. Tsiris, G., Pavlicevic, M., & Farrant, C. (2014). A Guide to Evaluation for Arts Therapists and Arts & Health Practitioners. London: Jessica Kingsley.
Gea van Straaten
Giorgos Tsiris
Camilla Farrant
Gea van Straaten has worked in elderly care since she graduated with a Bachelor o Music Therapy at Artez Institute o the Arts, Enschede in
Giorgos Tsiris is a researcher at Nordoff Robbins and music
Camilla Farrant is a research assistant at Nordoff Robbins and
1994. In 2012, she graduated rom Zuyd University o Applied Sciences as Master o Arts (MMTh); additionally, she successully completely NMT
therapist at St Christopher’s Hospice. He is the editor o
head music therapist at Music Therapy Tree which specialises
ellowship training in 2012.
Approaches: Music Therapy & Special Music Education.
in providing music therapy to vulnerable children in mainstreameducation.
56
Conference Programme 4�6 September 2015
Music Therapy and Dementia Care in the 21st Century
57
Papers 41 Susan Wilson
42 Thomas Woodward
Music therapy through the looking glass: a care home manager’s perspective o music therapy in dementia care
'Can you help my husband listen to music again?' - Changing expectations o music therapy or a couple in dementia care
Abstract: The term ‘music therapy’ may sound a bit abstract to people outside the music therapy circle. Without certain personal experience or involvement, it can be hard to comprehend what music therapy entails. This paper is a home manager’s take on music therapy through the experience of providing the intervention to care home residents.
Background Music therapy has found a place for couples in dementia care. Literature has highlighted these therapeutic targets: increased spousal interaction and engagement, reduced burden and stress for the spouses of persons with dementia, and increased abilities to cope with loss (Brotons & Marti, 2003; Clair, 2002; Robinson, Clare, & Evans, 2004). However, these targets seemed unrealistic when a spouse asked a music therapist to help her unsettled husband to listen to music.
The paper will hopefully inform music therapy practice with ideas that may help therapists better explain music therapy in dementia care and integrate the intervention into multidisciplinary care services more fully.
The paper will �irstly offer a backdrop depicting the reality of day-to-day care delivery in a dementia nursing home. It will then discuss how this context gives rise to the use of music therapy in enhancing the quality of life for the residents. Whilst recognising the need for therapy, the paper will serve to be a looking glass re�lecting a different side of this intervention which music therapists might not always perceive. From the perspective of a non-music therapist, it will look at referral, treatment course and outcomes and cost effectiveness.
Method This case study employs theorised psychological heuristics, such as ‘familiarity heuristics’ and ‘anchoring and adjustment’ (Tversky & Kahneman, 1974), to explain how the therapeutic aims evolved through trial and error during the sessions. The evolving stages of therapy catalysed the therapeutic effects meeting both spouse’s and therapist’s expectations. Techniques included containing the husband’s extreme verbal agitation, using ‘empathic music listening’, life review and verbal discussion. This led to the husband accessing his remaining cognitive abilities and sharing vivid autobiographical memories in detail. Being part of this therapeutic process also enabled his wife to catch glimpses of her husband as he was before his condition. The therapy helped the husband rediscover his love for classical music, which in turn created a unique intimate space for the couple to reconnect through memories and positive emotions.
Conclusion The paper highlights the therapist’s need for �lexibility between clinical judgement and the client’s expectations. The awareness of psychological heuristic phenomena and the willingness to try new approaches may have helped to adapt the therapy to the needs of the couple. References Robinson, L., Clare, L. and Evans, K. (2005). Making sense of dementia and adjusting to loss: Psychological reactions to a diagnosis of dementia in couples. Aging & Mental Health, 9(4), pp.337�347. Clair, A. (2002). The effects of music therapy on engagement in family caregiver and care receiver couples with dementia. American Journal of Alzheimer's Disease and Other Dementias, 17(5), pp.286�290. Brotons, M. and Marti, P. (2003). Music Therapy with Alzheimer's Patients and Their Family Caregivers: A Pilot Project. Journal of Music Therapy, 40(2), pp.138�150. Tversky, A. and Kahneman, D. (1974). Judgment under Uncertainty: Heuristics and Biases. Science, 185(4157), pp.1124�1131.
Susan Wilson
Thomas Woodward
Sue is manager or Maple Lea House nursing home (MHA). She was born in Wales and spent the first 12 years o her lie travelling around this
Afer completing his degree in music with visual practice, Thomas worked as a reelance musician or ten years. During this period, he also
country and also the Middle East. Her ather was a nurse in the Royal Air Force and was posted to different bases. As a amily, they all relocated
pursued an interest in alternative healing and holistic therapies, eventually discovering music therapy and deciding to become a therapist as
together. They lived in Aden twice but were evacuated afer 11 months on the second time due to the rising troubles out there. The desire to
he entered his thirties. Thomas trained at the Guildhall, and then worked as a learning assi stant in SEN. schools or a ew years beore securing
nurse runs in the amily as Sue is also a nurse, as is her eldest s on, in different fields.
a ull time music therapy job with MHA. He has worked in the MHA. dementia care setting or over three years now, and finds the work rewardingandstimulating.
58
Music Therapy and Dementia Care in the 21st Century
Conference Programme 4�6 September 2015
59
Papers 41 Susan Wilson
42 Thomas Woodward
Music therapy through the looking glass: a care home manager’s perspective o music therapy in dementia care
'Can you help my husband listen to music again?' - Changing expectations o music therapy or a couple in dementia care
Abstract: The term ‘music therapy’ may sound a bit abstract to people outside the music therapy circle. Without certain personal experience or involvement, it can be hard to comprehend what music therapy entails. This paper is a home manager’s take on music therapy through the experience of providing the intervention to care home residents.
Background Music therapy has found a place for couples in dementia care. Literature has highlighted these therapeutic targets: increased spousal interaction and engagement, reduced burden and stress for the spouses of persons with dementia, and increased abilities to cope with loss (Brotons & Marti, 2003; Clair, 2002; Robinson, Clare, & Evans, 2004). However, these targets seemed unrealistic when a spouse asked a music therapist to help her unsettled husband to listen to music.
The paper will hopefully inform music therapy practice with ideas that may help therapists better explain music therapy in dementia care and integrate the intervention into multidisciplinary care services more fully.
The paper will �irstly offer a backdrop depicting the reality of day-to-day care delivery in a dementia nursing home. It will then discuss how this context gives rise to the use of music therapy in enhancing the quality of life for the residents. Whilst recognising the need for therapy, the paper will serve to be a looking glass re�lecting a different side of this intervention which music therapists might not always perceive. From the perspective of a non-music therapist, it will look at referral, treatment course and outcomes and cost effectiveness.
Method This case study employs theorised psychological heuristics, such as ‘familiarity heuristics’ and ‘anchoring and adjustment’ (Tversky & Kahneman, 1974), to explain how the therapeutic aims evolved through trial and error during the sessions. The evolving stages of therapy catalysed the therapeutic effects meeting both spouse’s and therapist’s expectations. Techniques included containing the husband’s extreme verbal agitation, using ‘empathic music listening’, life review and verbal discussion. This led to the husband accessing his remaining cognitive abilities and sharing vivid autobiographical memories in detail. Being part of this therapeutic process also enabled his wife to catch glimpses of her husband as he was before his condition. The therapy helped the husband rediscover his love for classical music, which in turn created a unique intimate space for the couple to reconnect through memories and positive emotions.
Conclusion The paper highlights the therapist’s need for �lexibility between clinical judgement and the client’s expectations. The awareness of psychological heuristic phenomena and the willingness to try new approaches may have helped to adapt the therapy to the needs of the couple. References Robinson, L., Clare, L. and Evans, K. (2005). Making sense of dementia and adjusting to loss: Psychological reactions to a diagnosis of dementia in couples. Aging & Mental Health, 9(4), pp.337�347. Clair, A. (2002). The effects of music therapy on engagement in family caregiver and care receiver couples with dementia. American Journal of Alzheimer's Disease and Other Dementias, 17(5), pp.286�290. Brotons, M. and Marti, P. (2003). Music Therapy with Alzheimer's Patients and Their Family Caregivers: A Pilot Project. Journal of Music Therapy, 40(2), pp.138�150. Tversky, A. and Kahneman, D. (1974). Judgment under Uncertainty: Heuristics and Biases. Science, 185(4157), pp.1124�1131.
Susan Wilson
Thomas Woodward
Sue is manager or Maple Lea House nursing home (MHA). She was born in Wales and spent the first 12 years o her lie travelling around this
Afer completing his degree in music with visual practice, Thomas worked as a reelance musician or ten years. During this period, he also
country and also the Middle East. Her ather was a nurse in the Royal Air Force and was posted to different bases. As a amily, they all relocated
pursued an interest in alternative healing and holistic therapies, eventually discovering music therapy and deciding to become a therapist as
together. They lived in Aden twice but were evacuated afer 11 months on the second time due to the rising troubles out there. The desire to
he entered his thirties. Thomas trained at the Guildhall, and then worked as a learning assi stant in SEN. schools or a ew years beore securing
nurse runs in the amily as Sue is also a nurse, as is her eldest s on, in different fields.
a ull time music therapy job with MHA. He has worked in the MHA. dementia care setting or over three years now, and finds the work rewardingandstimulating.
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Music Therapy and Dementia Care in the 21st Century
Posters
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Notes
Jaana Ruotsalainen (Music therapist and physiotherapist; Masters thesis: Jyväskylä University)
'Rhythmical exercises as tools or rehabilitation ollowing cerebellar stroke' Tiffany Wray (Music therapy MSc. student Queen Margaret University, Edinburgh)
'A qualitative study on the effects o music therapy intervention in persons with moderate to severe dementia: Music therapists’ perspectives' Katarina Lindblad (Music therapist: The Swedish Dementia Centre).
'The music therapist in dementia nursing homes – a new role?' Neta Spiro, Camilla Farrant, Giorgos Tsiris, Mercédès Pavlicevic (Nordoff Robbins Research Department, London, UK)
'The views o amily members, music therapists, staff and managers living and working in care homes' Evelyn Seidel (MA Music therapy student University of Wurzburg-Germany)
'Music therapy in a German guideline on dementia' Stephen Amos (Amore Care, part of the Priory Group)
'Dementia & the power o music'
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Music Therapy and Dementia Care in the 21st Century
Posters
Notes
Jaana Ruotsalainen (Music therapist and physiotherapist; Masters thesis: Jyväskylä University)
'Rhythmical exercises as tools or rehabilitation ollowing cerebellar stroke' Tiffany Wray (Music therapy MSc. student Queen Margaret University, Edinburgh)
'A qualitative study on the effects o music therapy intervention in persons with moderate to severe dementia: Music therapists’ perspectives' Katarina Lindblad (Music therapist: The Swedish Dementia Centre).
'The music therapist in dementia nursing homes – a new role?' Neta Spiro, Camilla Farrant, Giorgos Tsiris, Mercédès Pavlicevic (Nordoff Robbins Research Department, London, UK)
'The views o amily members, music therapists, staff and managers living and working in care homes' Evelyn Seidel (MA Music therapy student University of Wurzburg-Germany)
'Music therapy in a German guideline on dementia' Stephen Amos (Amore Care, part of the Priory Group)
'Dementia & the power o music'
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Music Therapy and Dementia Care in the 21st Century
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Music Therapy and Dementia Care in the 21st Century
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Music Therapy and Dementia Care in the 21st Century
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Music Therapy and Dramatherapy at Anglia Ruskin University Music Therapy at Anglia Ruskin was established on the Cambridge campus in 1994, providing the �irst MA Music Therapy training in the UK. Since then we have gone on to train hundreds of Music Therapists who practice worldwide. In 2005, our Music Therapy Clinic was opened, serving the community in Cambridgeshire and the surrounding area. We provide treatment for many local groups, charities and voluntary organisations, private individuals as well as statutory health, education and social services. To build on our strengths in this area, we established our MA Dramatherapy in 2010 and, in 2013, we opened our new clinic which is now the largest University-based therapy centre in the UK. The department is a centre for excellence in research, with world-leading research (Research Excellence Framework 2014), and Music Therapy has the largest professoriate in the UK.
MA Dramatherapy
MA Music Therapy
Through lectures, practical workshops, case discussions and theoretical studies, this course will introduce you to a range of approaches to dramatherapy. You’ll re�lect on your own practice in group discussions, and be supported by an extensive programme of tutorials and supervisions.
On successful completion of this course you’ll be eligible for registration with the Health and Care Professions Council in the UK and to work as a Music Therapist.
Your studies will focus on intercultural practice, attachment/ mother-infant observation and the understanding of how past relationships manifest in current client di�iculties and how they can be worked with through the dramatherapeutic relationship. You’ll also work with music therapists in lectures and performance work, such as Playback Theatre. Our experiential teaching will focus on your own dramatic autobiographical process, dramatherapy theory, links between theory and practice, and bi-weekly experiential dramatherapy groups. In these, you’ll re�lect upon your clinical experiences and the process of becoming a dramatherapist. You will take part in clinical placements under the supervision of quali�ied dramatherapists, preparing you for employment in many different settings. These placements will take place in two to three �ields, including community settings, schools, hospitals and hospices, providing you with experience of working in a multi-disciplinary team.
Through lectures, practical workshops, case discussions and theoretical studies, this course will introduce you to a range of approaches to music therapy. You’ll re�lect on your own practice in group discussions, and be supported by an extensive programme of tutorials and supervisions. You will about the most recent, effective music therapy approaches with adults and children. In the UK there are two central elements of music therapy: the use of improvised and pre-composed music; and the signi�icance given to the relationship between client and therapist. These principles will underpin your training.
For more information contact :
Email:
[email protected] Call: 08451 962080 Chelmsford Campus Bishop Hall Lane Chelmsford CM1 1SQ
You will also take part in clinical placements under the supervision of quali�ied dramatherapists, preparing you for employment in many different settings, as well as attending regular individual tutorials. Our clinical supervision groups will allow you to re�lect upon your clinical experiences and upon the process of becoming a music therapist.
Cambridge Campus East Road Cambridge CB1 1PT
www.anglia.ac.uk/musictherapy www.anglia.ac.uk/madramatherapy
MPhil/PhD In additional to our Postgraduate taught course we also offer MPhil and PhD supervision and you will join a vibrant community of t herapy researchers.. We’re linked to the International Music Therapy Research Consortium, which includes eight other universities in Europe, the USA and Australia. Visit www.anglia.ac.uk/research for more information or contact our Research Co-ordinator
[email protected]
66
Music Therapy and Dementia Care in the 21st Century
@angliaruskin facebook.com/angliaruskin
B M 2 1 2 / 5 1 � 4 1
Cambridge | Chelmsford | Peterborough
Conference Programme 4�6 September 2015
67
Music Therapy and Dramatherapy at Anglia Ruskin University Music Therapy at Anglia Ruskin was established on the Cambridge campus in 1994, providing the �irst MA Music Therapy training in the UK. Since then we have gone on to train hundreds of Music Therapists who practice worldwide. In 2005, our Music Therapy Clinic was opened, serving the community in Cambridgeshire and the surrounding area. We provide treatment for many local groups, charities and voluntary organisations, private individuals as well as statutory health, education and social services. To build on our strengths in this area, we established our MA Dramatherapy in 2010 and, in 2013, we opened our new clinic which is now the largest University-based therapy centre in the UK. The department is a centre for excellence in research, with world-leading research (Research Excellence Framework 2014), and Music Therapy has the largest professoriate in the UK.
MA Dramatherapy
MA Music Therapy
Through lectures, practical workshops, case discussions and theoretical studies, this course will introduce you to a range of approaches to dramatherapy. You’ll re�lect on your own practice in group discussions, and be supported by an extensive programme of tutorials and supervisions.
On successful completion of this course you’ll be eligible for registration with the Health and Care Professions Council in the UK and to work as a Music Therapist.
Your studies will focus on intercultural practice, attachment/ mother-infant observation and the understanding of how past relationships manifest in current client di�iculties and how they can be worked with through the dramatherapeutic relationship. You’ll also work with music therapists in lectures and performance work, such as Playback Theatre. Our experiential teaching will focus on your own dramatic autobiographical process, dramatherapy theory, links between theory and practice, and bi-weekly experiential dramatherapy groups. In these, you’ll re�lect upon your clinical experiences and the process of becoming a dramatherapist. You will take part in clinical placements under the supervision of quali�ied dramatherapists, preparing you for employment in many different settings. These placements will take place in two to three �ields, including community settings, schools, hospitals and hospices, providing you with experience of working in a multi-disciplinary team.
Through lectures, practical workshops, case discussions and theoretical studies, this course will introduce you to a range of approaches to music therapy. You’ll re�lect on your own practice in group discussions, and be supported by an extensive programme of tutorials and supervisions. You will about the most recent, effective music therapy approaches with adults and children. In the UK there are two central elements of music therapy: the use of improvised and pre-composed music; and the signi�icance given to the relationship between client and therapist. These principles will underpin your training.
For more information contact :
Email:
[email protected] Call: 08451 962080 Chelmsford Campus Bishop Hall Lane Chelmsford CM1 1SQ
You will also take part in clinical placements under the supervision of quali�ied dramatherapists, preparing you for employment in many different settings, as well as attending regular individual tutorials. Our clinical supervision groups will allow you to re�lect upon your clinical experiences and upon the process of becoming a music therapist.
Cambridge Campus East Road Cambridge CB1 1PT
www.anglia.ac.uk/musictherapy www.anglia.ac.uk/madramatherapy
MPhil/PhD In additional to our Postgraduate taught course we also offer MPhil and PhD supervision and you will join a vibrant community of t herapy researchers.. We’re linked to the International Music Therapy Research Consortium, which includes eight other universities in Europe, the USA and Australia. Visit www.anglia.ac.uk/research for more information or contact our Research Co-ordinator
[email protected]
66
Music Therapy and Dementia Care in the 21st Century
@angliaruskin facebook.com/angliaruskin
B M 2 1 2 / 5 1 � 4 1
Cambridge | Chelmsford | Peterborough
Conference Programme 4�6 September 2015
67