Melbourne Conservatorium of Music - Research Publications
Now showing items 1-12 of 705
“Doing Things Together Is What It’s About”: An Interpretative Phenomenological Analysis of the Experience of Group Therapeutic Songwriting From the Perspectives of People With Dementia and Their Family Caregivers
(Frontiers Media SA, 2021)
Background. The wellbeing of people living with dementia and their family caregivers may be impacted by stigma, changing roles, and limited access to meaningful opportunities as a dyad. Group therapeutic songwriting (TSW) and qualitative interviews have been utilized in music therapy research to promote the voices of people with dementia and family caregivers participating in separate songwriting groups but not together as dyads. Procedures. This study aimed to explore how ten people with dementia/family caregiver dyads experienced a 6-week group TSW program. Dyads participated in homogenous TSW groups involving 2–4 dyads who were either living together in the community (2 spousal groups) or living separately because the person with dementia resided in a care home (1 family group, 1 spousal group). The TSW program, informed by personhood, couplehood, family centered and group process frameworks, involved creating original lyrics through song parody and song collage. Qualified Music Therapists facilitated sessions and interviewed each dyad separately. Interviews were analyzed using interpretative phenomenological analysis. Findings. Five recurrent group themes were developed, indicating group TSW: (1) was a positive shared experience, benefiting both members of the dyad and motivating further engagement with music; (2) stimulated mental processes and reignited participants’ interests and skills; (3) provided meaningful opportunities for reflection and connection with memories and life experiences; and (4) prompted interaction and collaboration, leading to social connections, empathic relationships and experiences of inclusion. Participants also highlighted how: (5) the facilitated process supported engagement, highlighting abilities and challenging doubts. Conclusion. Dyads identified group TSW as an opportunity to recognize strengths, voice ideas and opinions, share meaningful experiences, and do “more with music.” Participants valued TSW as a new, creative and stimulating experience that enabled connection with self and others and led to feelings of pride and achievement. Our findings further recognize how therapeutic intention and approach were reflected in participants’ engagement and responses regardless of dementia stage and type, dyad relationship, or musical background. This research may broaden perspectives and expand understanding about how people with dementia and their family caregivers access and engage in music therapy.
(YDS Music, 2008)
Sunny Kim & the Myth of Mitch tell a futuristic story of Perfect01, a cyborg who creates a clone of herself to find true love and the meaning of her existence. A soundtrack to Sunny Kim’s 60-min experimental multi-media performance involving live music, dance, and martial arts, premiered in Boston in 2005.
(Sunnyside Records, 2012)
The beauty of southern landscapes of South Korea captured by Korean contemporary classical painting and poetry by Sun Doo Kim takes on a new life as contemporary musical compositions by Sunny Kim.
Examining how music therapists describe providing safety for children and adolescents who have had traumatic experiences: A Critical interpretive synthesis
(Australian Counselling Association, 2020-12-18)
This paper presents the result of a critical interpretive synthesis (CIS) that examines how safety is created, explained and represented in the current literature of music therapy trauma recovery programs. Creating a sense of safety is fundamental when providing programs for people who have had traumatic experiences. However, minimal music therapy literature has presented detailed descriptions of constructing safety in the program. The investigators examined a total of twenty-two manuscripts with the intention of gathering multiple perspectives on how safety is described. We first identified the meaning of safety and different vocabulary used by the authors to represent safety taking account of the clients’ state of mind, the relationship with the therapist and/or the peers, and the environment. We discovered that the therapists’ decisions about using different engagement strategies might have the most impact on creating a sense of safety in programs. These engaging strategies included providing structure, active listening, giving the participants control over the activities and offering choices. Moreover, it appears that when a trusting relationship was established in the program, a sense of safety may be created. However, there was little information provided in the manuscripts describing or evaluating the participants’ responses and feedback about their feelings of safety. To conclude, we suggest the lack of detailed descriptions of how safety is created demonstrates the need for more studies to understand the phenomenon better.
The Dynamics of Musical Participation
(SAGE Publications, 2021-03-19)
In this paper we argue that our comprehension of musical participation—the complex network of interactive dynamics involved in collaborative musical experience—can benefit from an analysis inspired by the existing frameworks of dynamical systems theory and coordination dynamics. These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as prediction, adaptivity, social cohesion, reciprocity, and reward. While most musicians involved in collective forms of musicking already have some familiarity with these terms and their associated experiences, we currently lack an analytical vocabulary to approach them in a more targeted way. To fill this gap, we adopt insights from these frameworks to suggest that musical participation may be advantageously characterized as an open, non-equilibrium, dynamical system. In particular, we suggest that research informed by dynamical systems theory might stimulate new interdisciplinary scholarship at the crossroads of musicology, psychology, philosophy, and cognitive (neuro)science, pointing toward new understandings of the core features of musical participation.
Meeting Point Series: Hand to Earth
(Arts Centre Melbourne and Australian Art Orchestra, 2018)
A new repertoire of manikay emerges as unexpected musical connection forms between Australia's Arnhem land and Korea.
The impact of biographical information about a composer on emotional responses to their music
(SAGE Publications, 2021)
This study investigated whether reading biographical information about the composer Jan Dismas Zelenka (1679–1745) before listening to his music would influence listeners’ self-reported emotional responses. The study involved 179 participants who completed an online listening exercise in which they read either a negative or a neutral biography of Zelenka, or no biography, before listening to two short excerpts of his music. After listening to each excerpt, participants completed a 27-item questionnaire concerning their emotional responses and were then asked to describe in their own words how the music made them feel. Two factor analyses identified five factors underlying the emotional responses of participants for each musical excerpt. Generalised Linear Mixed Model analyses indicate that the biography condition affected participants’ emotional responses with regard to memories, associations, and mental images. Positive emotional contagion was also a significant predictor variable for several of the emotional factors that were identified. A thematic analysis of participants’ free-text responses supported both the BRECVEMAC model and persona theory as interpretative frameworks, albeit with caveats. Additionally, a chi-square test of contingencies revealed that participants who read the negative biography of Zelenka were more likely to make use of negative language to describe their emotional responses to the music, and that participants who read no biography were more likely to use neutral language. The findings suggest that contextual biographical information about composers (e.g., in program notes) can have an impact on the emotional experiences of listeners.
Creating Authentic Assessments for Online Music Courses: Mapping a Learning Task
(IGI Publications, 2021-03-01)
The need for identifying authentic assessments, or learning tasks, in online music courses is becoming integral as the rate of online music course offerings has been exponentially increasing. Supportive research also suggests that instructors teaching in higher education may require a paradigm shift in their pedagogical approach as they develop social-constructivist based authentic assessments for music subjects taught in an online environment. To assist with the understanding of both why and how to generate authentic assessment for a Bachelor's-level online music course, the chapter explores the nature of authentic assessment for music and Koh's Criteria for Authenticity in Authentic Assessment. Finally, to provide a practical exemplar of how online discussions can be used as an authentic learning tool in the online music class, an online discussion task for a songwriting class is identified and examined through the lens of Koh's characteristics.