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Unmasking Alienation in the Lived Experiences of Songwriters
Unmasking Alienation in the Lived Experiences of Songwriters
Kay Schachner
This critical narrative inquiry explores autobiographical narratives of songwriters, calling attention to experiences of alienation. Silver’s (2018) “wheel of alienation” is the conceptual framework for alienation used in this study: a sociological model synthesizing...
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This critical narrative inquiry explores autobiographical narratives of songwriters, calling attention to experiences of alienation. Silver’s (2018) “wheel of alienation” is the conceptual framework for alienation used in this study: a sociological model synthesizing critical theory (Benjamin, 1935/2008; Brookfield, 2004; Fromm, 1941; Horkheimer & Adorno, 1944/2020), existentialism (Howie, 2014; Jaeggi, 2014; Rae, 2010) and interpretivist sociology broadly (McIntyre, 2008, 2011, 2019; Scarborough, 2017; Silver, 2018). The author provides this multi-factor scaffolding both to identify non-dominant narratives by applying multiple theoretical perspectives (Bruner, 1991; Hadley, 2013b; Morgan, 2002; White, 2007), and to put forth alienation, the “cutting off” of the ability to act on one’s own accord within a given social context, as a useful concept in understanding experiences of agency, authenticity, growth and integration–or lack thereof–in our current pluralistic world (Jaeggi, 2014; Kalekin-Fishman & Langman, 2015; Rae, 2010; Silver, 2018). The author interviewed four songwriters about experiences of alienation that emerge within their process of inspiration, drafting, collaboration, performance, recording, touring, marketing, and so on (Cobb, 2016; Long & Barber, 2017; McIntyre, 2008, 2011, 2019). Four themes emerged as salient in the narrative data: interaction with normative expectations, agentic actions, alienation experiences, and communal experiences, which were then separated into subthemes such as discovery of creative agency, split identity, alienation from family, and external/internal ego fixations. Considerations for community music therapy are discussed, as well as how institutions and individuals might foster ecological conditions for more meaningful and sustainable songwriting experiences.
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2023
Loneliness, COVID-19, and Music: Experiences of Older Adults in a Nursing Home
Loneliness, COVID-19, and Music: Experiences of Older Adults in a Nursing Home
Rhiannon Rieger
This thesis explores the experiences of older adults during the lockdown due to the COVID-19 pandemic. While this research is about a specific time in history, the information that has been gathered from it is has been relevant for decades. In this study, fifteen ind...
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This thesis explores the experiences of older adults during the lockdown due to the COVID-19 pandemic. While this research is about a specific time in history, the information that has been gathered from it is has been relevant for decades. In this study, fifteen individuals residing at a nursing home where I worked, as a music therapist working in the activities department, share their experiences of loneliness during lockdown that resulted from the COVID-19 pandemic. This study was conducted by gathering data both qualitatively and quantitatively. Each participant completed a loneliness scale questionnaire and took part in a semi-structured interview. Questionnaire data were analyzed using descriptive statistics. The interview content was coded using descriptive coding and grouped into themes and analyzed. Themes emerged to coincide with Elisabeth Kübler-Ross’s 5 Stages of Grief. These themes were Not Feeling Any Different/Nothing Has Changed, Feelings of Frustration/Feeling Restricted, Wishing Things Were Different, Feelings of Loss, and Feelings of Acceptance, Hope, and Faith. Additionally, a theme centered around the role of music in participants’ lives. Discussion of the of the implications of the results of this study, as well as limitations and recommendations for future research were explored.
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2021
 Music, identity, and authenticity
Music, identity, and authenticity
reflecting the narratives of black queer men through piano-based music improvisation
Fred Perkins
This thesis is the dissemination of the findings of a research study exploring piano-based music improvisation and the lived experience of Black queer men. The overall aim was to explore how five Black queer men experience the intersections of their racial identity a...
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This thesis is the dissemination of the findings of a research study exploring piano-based music improvisation and the lived experience of Black queer men. The overall aim was to explore how five Black queer men experience the intersections of their racial identity and sexuality in various social environments through piano-based music improvisation. This study grew out of my own experiences as a Black queer man and my ability or lack thereof to authentically express my racial identity and sexuality in specific social environments. Participants were chosen through convenience sampling and were prompted to engage in a series of piano improvisations, where they were asked to musically communicate how they experience their racial identity and sexuality within their biological family, friend group, and society. Data was collected through video recordings of the improvisations, written reflections to questions about the experience, and through transcriptions of the member checking discussions. Following each improvisation, participants were asked to reflect upon two questions regarding their process and experience during the improvisation. The recorded improvisations were then analyzed using Dr. Kenneth Bruscia’s Improvisation Assessment Profiles (IAPs) and interpretations about the participants’ experiences were made. Member checking was utilized to ensure an accurate representation of the participants’ experiences. Themes of 1) prejudice, 2) sense of identity, 3) impacts of relationships, and 4) responses to trauma that emerged in the verbal data were discussed in the context of the individual and collective experiences of the participants with implications for the practice of music therapy.
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2021
Language Discordance in Music Therapy
Language Discordance in Music Therapy
Therapists’ Experiences of Delivering Music Therapy Services with Interpreters
Victoria Obermeier
The following thesis is a culmination of an interpretative phenomenological analysis research study seeking to understand music therapists’ experiences of delivering music therapy services with a language interpreter. The purpose of this study has four main tenets: 1...
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The following thesis is a culmination of an interpretative phenomenological analysis research study seeking to understand music therapists’ experiences of delivering music therapy services with a language interpreter. The purpose of this study has four main tenets: 1) To understand the therapists’ experiences of delivering music therapy services with interpreters, 2) To fill the gap in the music therapy literature on working with interpreters, 3) To serve as a resource for music therapists delivering music therapy services with interpreters, and 4) To combat the systemic issues of access and equity within the music therapy field. Data was collected through one-on-one semi-structured interviews with 5 music therapists. Data was then transcribed, coded, and thematized, resulting in 40 themes and seven domains: 1) Ways of working with interpreters, 2) Benefits of working with interpreters, 3) Drawbacks of working with interpreters, 4) Music therapists’ feelings when working with interpreters, 5) Potential reasons for not working with interpreters, 6) Dangers of not working with interpreters, and 7) Considerations for music therapists working with interpreters. The findings indicate areas of growth and the need for increased education for music therapists when working with interpreters. Music therapists are also challenged to confront their own privileged stances on the issues of language and linguistic privilege within the U.S., as related to working with patients with limited English proficiency and from historically marginalized communities within music therapy.
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2023
Queer Clients' Experiences of Harm in Therapy
Queer Clients' Experiences of Harm in Therapy
Jess Neumann
This thesis aimed to explore how queer clients experience harm in music therapy and how that harm impacted the therapeutic relationship and process. Upon completing an initial interest and demographic survey, four participants were selected to participate in semi-str...
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This thesis aimed to explore how queer clients experience harm in music therapy and how that harm impacted the therapeutic relationship and process. Upon completing an initial interest and demographic survey, four participants were selected to participate in semi-structured Zoom interviews. Interviews were transcribed and coded, resulting in seven themes: 1) therapist responses, 2) client responses, 3) qualities of the therapeutic relationship, 4) client perceptions of therapist, 5) impact on client and the therapeutic process, 6) barriers to accessing therapy, and 7) what builds safety and trust. Findings are discussed in relation to the research questions, and implications for clinical practice and suggestions for future research are also provided.
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2023
Group Music Therapy for LGBTQIA+ Parents Experiencing Postpartum Depression and Anxiety
Group Music Therapy for LGBTQIA+ Parents Experiencing Postpartum Depression and Anxiety
A mixed methods study
Maryrose Nieman Nelson
A mixed methods research study involving an eight-week music therapy group was facilitated virtually for LGBTQIA+ parents experiencing postpartum mood and anxiety disorders. The Edinburgh Postnatal Depression Scale was administered upon first session and last session...
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A mixed methods research study involving an eight-week music therapy group was facilitated virtually for LGBTQIA+ parents experiencing postpartum mood and anxiety disorders. The Edinburgh Postnatal Depression Scale was administered upon first session and last session to capture potential impact of music therapy group on mental health over time. The Brief Mood Introspection Scale was administered at the beginning and end of each session to capture short term impact of group music therapy. A semi-structured focus group was facilitated to capture experiences of and feedback from participants, and interviews were scheduled with participants who did not attend the focus group. Interviews and the focus group were transcribed and analyzed and six themes were identified: community and solidarity built around shared experiences, music within and beyond the group, expansiveness and generativity in parenthood, response to experience, attendance and timing challenges, and accessibility. The Edinburgh Postnatal Depression Scale did not show statistically significant changes in mood over the course of the eight-week group but was limited by sample size and an outlier score. The Brief Mood Introspection Scale showed more significant trends in increased pleasant mood, decreased stress, and increased positivity after the session. When LGBTQIA+ parents were able to attend the session, they reported meaningful impacts despite attendance challenges. Findings may be useful in developing music therapy practice and research.
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2023
Music Therapists' Perceptions of the Effects of Tele-Music Therapy on Client Access
Music Therapists' Perceptions of the Effects of Tele-Music Therapy on Client Access
David Landes
This qualitative focus group study explored how music therapists are understanding and responding to changes in client access since the move toward tele-music therapy spurred by the recent COVID-19 virus outbreak. Coming from a recognition of histories of health acce...
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This qualitative focus group study explored how music therapists are understanding and responding to changes in client access since the move toward tele-music therapy spurred by the recent COVID-19 virus outbreak. Coming from a recognition of histories of health access disparity for underserved populations, this study also sought music therapists’ perspectives on how specific cultural groups and identities may have been unequally affected in terms of access to tele-music therapy. In this study, a synchronous online focus group discussion was facilitated with six music therapists to explore their perspectives regarding the benefits and challenges of tele-music therapy, particularly in terms of client access, and to explore ways these therapists found to respond to any challenges or disparities in access they encountered. Results suggest that music therapists are finding a complex set of both benefits and challenges in terms of their clients accessing tele-music therapy. Four themes with 18 sub-themes were found: challenges/barriers to access (technology challenges, inequities in access, facility- or population-related barriers, safety concerns, challenges of in-home sessions, and hard choices), bridging the barriers (benefits to specific populations, in-home session benefits, bridging distance, and finding solutions), making music in tele-music therapy (music-making challenges, singing, musical instruments and technology, and musical solutions), and the future role of tele-music therapy (hopes and concerns, preparing for the future, and possibilities.) These findings offer recommendations for the continued use of tele-music therapy even beyond the current pandemic. Keywords: telehealth access, barriers to access, underserved populations, COVID-19
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2021
Sexual Offenders in Western Pennsylvania
Sexual Offenders in Western Pennsylvania
An Analysis of Megan's Law Registrants
Elizabeth Kuhn
In the United States, the implementation of sex offender legislation, such as the passing of the Jacob Wetterling Act in 1994, was initiated to improve the response to the increasing perception of public safety concerns that individuals convicted of sexual offenses p...
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In the United States, the implementation of sex offender legislation, such as the passing of the Jacob Wetterling Act in 1994, was initiated to improve the response to the increasing perception of public safety concerns that individuals convicted of sexual offenses posed to community members. However, despite the enactment of such policies, debates regarding the effectiveness of sex offender registration and notification (SORN) requirements continue, with critics arguing that policies are founded on conclusions gained from research that overlooks a portion of the sex-offending population: females who sexually offend. Therefore, the objective of this paper was to explore the prevalence and nature of female sex offending in Allegheny County. Results demonstrated that female sex offenders accounted for 2.8% of the total convicted sexual offender population in Allegheny. Additionally, females were primarily White and, on average, younger than male offenders. A significant proportion of females (82.1%) had a minor victim, and the study's findings also determined that lifetime registry was the highest occurring tier classification for both males and females. Types of primary offenses that females were convicted of included charges such as sex trafficking (7.7%) and indecent assault (30.8%), with indecent assault also as the most frequent sub-offense conviction (12.8%). Lastly, results exhibited that male (M = 7.46, SD = 3.221) and female (M = 6.46, SD = 2.602) sex offenders in Allegheny County did not have significantly different offense gravity scores.
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2023
Imagining a post–intentional phenomenology of cisnormativity
Imagining a post–intentional phenomenology of cisnormativity
a philosophical inquiry
Braedyn Inmon
My original plan for this thesis project was to conduct a phenomenological study that focuses on how cisnormativity influences and emerges through a clinician’s development of micro-skills, especially those who are transgender, Two Spirit, and Intersex or otherwise n...
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My original plan for this thesis project was to conduct a phenomenological study that focuses on how cisnormativity influences and emerges through a clinician’s development of micro-skills, especially those who are transgender, Two Spirit, and Intersex or otherwise non-conforming to the colonial gender paradigm (TTSI+) (Lugones, 2007). However, I struggled to find any phenomenological or clinical consideration of cisnormativity as a phenomenon, and it is rarely articulated as a system immersed in white supremacist bio-essentialism. So, this thesis is a philosophical inquiry that is grounded in Vagle’s post-intentional phenomenological (PIP) paradigm (2018). This inquiry details: 1) how the PIP paradigm may nurture more nuanced investigation of bio-essentialist systems of oppression, 2) how critical phenomenological and post-structural concepts in may be utilized to attend to cisnormativity as a phenomenon that is a part of the imperialist white supremacist capitalist cisheteropatriarchy (hooks, 1997; Yancy & hooks, 2015), 3) the productions and provocations of cisnormativity that emerged through my research process, 4) how these findings connect to current music therapy and related care work literature, and 5) what research project ideas have emerged for future study. Overall, I assert cisnormativity affects everyone, not just TTSI+ people. It is urgently important to slow down and open up to ways cisheteropatriarchy emerges through our habits, through text, and through theoretical frameworks, and to ways we may retroactively and proactively shift these dynamics. I hope my work enables all to nurture their reflexivity and resistance to bio-essentialist oppression through attending to relationships and holding consideration for the more-than-visual.
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2023
Embodied Speech Through Song
Embodied Speech Through Song
A Queer Autoethnographic Exploration of Gender Affirming Voicework in Music Therapy
Maevon Gumble
Through queer autoethnography (i.e., queerly telling stories), I have explored the beginning development of a gender affirming voicework method within music therapy, informed by my personal experiences of seeking a more affirming voice for myself as a nonbinary trans...
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Through queer autoethnography (i.e., queerly telling stories), I have explored the beginning development of a gender affirming voicework method within music therapy, informed by my personal experiences of seeking a more affirming voice for myself as a nonbinary trans person, specifically doing this through my singing voice. This was further informed by literature from the fields of speech-language pathology, vocal pedagogy, and music therapy. This method will potentially provide a uniquely holistic space, working with the physical voice in terms of working on gendered behavioral changes and healthy vocal habits; the psychological voice in terms of supporting the emotional relationship that a person has with their voice, body, and Self; and the body in terms of encouraging relaxation and groundedness as well as working with the ways a person expresses/relates to their voice, body, and Self. In attempts to ignite a conversation around the possibilities of gender-based work within music therapy for trans, nonbinary, and cis individuals, I share my experiences of engaging in gender affirming voicework. Although this voicework is likely relevant to all individuals, it is perhaps more pertinent for trans and nonbinary folk. This is reflected throughout my autoethnography.
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2019
Ableism and Colonialism in International Music Therapy Service-learning Settings
Ableism and Colonialism in International Music Therapy Service-learning Settings
Vee Gilman
Music therapy settings are often marked by multiple power hierarchies, in which music therapists hold privileged identities in areas such as race, disability, language, and class in relation to clients who may carry multiple oppressed identities. In international ser...
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Music therapy settings are often marked by multiple power hierarchies, in which music therapists hold privileged identities in areas such as race, disability, language, and class in relation to clients who may carry multiple oppressed identities. In international service-learning settings, these dualities can be even more pronounced. As international service-learning projects market themselves to young music therapists and students, they emphasize these projects’ ability to accelerate music therapists’ advancement in the profession. However, analysis of visual and written discourse can reveal subtler and more insidious consequences of such projects, particularly in the ways they uphold colonial and ableist paradigms. In this paper, I will outline some foundational understandings regarding Indigenous studies, Disability studies, “voluntourism,” and the relevance of representation. I will then analyze publicly available photos and text from four international music therapy service-learning projects, using Actor-Network Theory to identify colonial and ableist themes. The analyses will demonstrate that these experiences align and prepare young music therapists for broader music therapy practice mainly by reinforcing music therapy’s deeply colonial and ableist foundations. Music therapy identity in these images is white, settler, nondisabled, and aligned with Western music and culture; client identity is Indigenous, colonized, Disabled, and represented without markers of local cultural resources. Beyond identity, these images reveal relational patterns that align with colonial and ableist tropes. As represented in these images and texts, music therapists purportedly give, help, act, distribute, teach, and transform, whereas clients receive, wait, accept, assimilate, and “overcome.” The representations are not merely neutral agents that reveal existing dynamics; they also perpetuate problematic notions of music therapy as an assimilative and charitable agent, enacted by active “helpers” upon passive “sufferers.” They both accentuate and perpetuate assumptions of Black and colonized people as needy or deficient, positioning Western music therapists conversely as helpful and sufficient. In analyzing and interpreting these representations, I will approach the following questions: How much does music therapist identity depend on the construction of a needy other? In representing ourselves as helpers, how do music therapists unwittingly create or emphasize deficits in clients?
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2021
Experiences of Trust in Music Therapy
Experiences of Trust in Music Therapy
Perspectives of Child Survivors of Domestic Violence
Ashely Doron
This qualitative thematic analysis explored children’s varying degrees of trust during music therapy after having witnessed domestic violence. As rates of domestic violence increase across the United States, children’s sense of trust is affected and there is a need f...
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This qualitative thematic analysis explored children’s varying degrees of trust during music therapy after having witnessed domestic violence. As rates of domestic violence increase across the United States, children’s sense of trust is affected and there is a need for further music therapy research from the perspectives of these children. In this study, semi-structured interviews were conducted with four child survivors of domestic violence after receiving four months of music therapy to explore how they understand and experience trust, as well as how trusting relationships are established and maintained with a therapist. Additional questions considered personal qualities that lead to trust or distrust, aspects of music therapy experiences that lead to additional trust in the therapist at different times, how experiences of trust change over time, what contributes to this change, and how the sociocultural locations of the therapist and child influence trust. The findings demonstrated that trust is a complex process that evolves over time and depends on certain qualities in a therapist, familiarity, and various aspects of music therapy. Three main themes with 13 sub-themes were found: qualities for trust and distrust (qualities that increase trust, qualities that decrease trust), process of developing trust and overall evolution (initial distrust/trust, insecurities and fears from participants’ past, familiarity leads to trust, connection to family/friends, feelings and experiences with trust, builds over time), and qualities of music therapy experiences (autonomy and choice, familiarity and predictability, types of instruments, types of experiences, music contains a wide range of expression). Findings provide recommendations for how practicing music therapists can create a trusting therapeutic relationship with child, adolescent, and adult survivors of domestic violence.
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2023
The Development of a Reflective Wellness Self-Assessment for Music Therapists
The Development of a Reflective Wellness Self-Assessment for Music Therapists
Janelle Chambers
The inspiration behind developing a reflective wellness self-assessment tool for music therapists came from the rationale that 1) burnout is an ethical issue that is prevalent in our profession and 2) no other tool which encourages therapist self-reflection on this i...
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The inspiration behind developing a reflective wellness self-assessment tool for music therapists came from the rationale that 1) burnout is an ethical issue that is prevalent in our profession and 2) no other tool which encourages therapist self-reflection on this issue exists in the field of music therapy. In an effort to create a unique tool that is relevant to the uniqueness of the profession, this self-assessment resource was based on pre-existing research and literature specific to music therapists and their experiences of burnout and burnout prevention. The development of this tool involved four phases: 1) an extensive investigation and organization of music therapy literature regarding personal and professional wellness; 2) the development of the wellness self-assessment tool based on the results found in the literature; 3) an evaluation process of the self-assessment by advanced and student music therapy professionals; and 4) an examination of the evaluation results and making changes to the assessment based on those results. In addition to their questions and suggestions that contributed to changes made to the assessment, the evaluators also identified multiple uses of the wellness self-assessment for music therapists, such as: bringing results into individual, group, or peer supervision; administering it to interns and students; completing it at regular intervals (i.e. 5-year re-certification); using it for future research on music therapy burnout; and incorporating it into the music therapy curriculum. The evaluators also indicated that the strengths of the wellness self-assessment tool were that it is specific to the field of music therapy, it is holistic and comprehensive, and it inspires critical and valuable self-reflection. The Wellness Self-Assessment for Music Therapists has ethical implications and is designed to be a preventative resource that promotes self-awareness, self-reflection, and overall wellness for the music therapist’s personal and professional self.
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2019
Potentials and barriers to culturally responsive music therapy education
Potentials and barriers to culturally responsive music therapy education
Perspectives of music therapy educators
Candice Bain
Abstract This qualitative focus group study explored perceptions of potentials and barriers to cultural responsiveness in music therapy education. Music therapy literature calls for an increase in culturally informed music therapy practice. However, despite cultural ...
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Abstract This qualitative focus group study explored perceptions of potentials and barriers to cultural responsiveness in music therapy education. Music therapy literature calls for an increase in culturally informed music therapy practice. However, despite cultural considerations present in music therapy professional competencies, there are no standards for culturally responsive pedagogical practices. Simultaneously, there has been an acknowledgment in the music therapy literature of challenges to culturally responsive practices, such as the homogeneous, privileged identities dominant in music therapy's professional demographics, compounded by the privileging of Western classical music in music therapy education. In this exploratory study, an online focus group discussion was facilitated with seven music therapy educators to explore their perspectives on the definition of culturally responsive education, their reflective evaluations of their pedagogical practices, their perspectives on how standards of music therapy education inform and/or hinder the ability to foster cultural responsiveness, and their respective outlooks on how potentials and barriers to cultural responsiveness are impacting education, research, theory, and practice. Results demonstrated that educators who value cultural responsiveness believe it is being overlooked in the field of music therapy. Six themes with 34 sub-themes were found: defining cultural responsiveness (stances of humility, self-awareness, continual and constant attention, knowledge of systems of power, self-critique, process, accountability, skills), relevance to clinical practice (ethical responsibility, effect on the therapeutic relationship, effective versus ineffective practice), approaches in education (dedicated course work, infused throughout the program, gradually increasing depth, beyond the classroom, from the beginning, dialogical over technical, experiential learning), preparedness (personal/professional growth practice, training for supervisors and faculty, staying informed), institutional attitudes (the need for changing attitudes, the field is improving, superficiality, the burden on marginalized faculty, commitment to social justice, support from administration), and barriers (Eurocentricity, lack of diversity, AMTA, jam-packed program, no specific training, the need for research). These findings offer recommendations for how the field of music therapy approaches cultural responsiveness in our training programs.
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2019
Unhoused Veterans’ Experiences of Song Sharing in Music Therapy
Unhoused Veterans’ Experiences of Song Sharing in Music Therapy
Brianna Webster
The purpose of this study was to explore the experiences of adult male veterans experiencing homelessness or poverty participating in group music therapy in a medium intensity residential treatment program. The intent was to gather service users’ perspectives about h...
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The purpose of this study was to explore the experiences of adult male veterans experiencing homelessness or poverty participating in group music therapy in a medium intensity residential treatment program. The intent was to gather service users’ perspectives about how music therapy, and the effectiveness of song sharing in particular, is useful to them in this context and what about it has been helpful. The study utilized thematic analysis with the intention of highlighting the voices of unhoused male veterans as limited research exists on song sharing within this group context, and particularly less that highlights the voices of the participants. Through qualitative analytic procedures, 4 overarching themes encapsulated the experiences of the participants: song sharing (1) is a positive experience, (2) integrates client choices to build community and connection, (3) supports relationship with music, and music (4) elicits a variety of responses. Each theme and 18 preliminary subthemes are outlined and discussed in detail, along with implications for music therapy practice and future research.
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2023
Music Therapists Experiences Working in a Setting that Values Censorship
Music Therapists Experiences Working in a Setting that Values Censorship
An Interpretative Phenomenological Analysis
Emily Boyce
This qualitative study examined the experiences of music therapists that work in an environment that promotes censorship practices. There are several studies that discuss censorship practices across helping professions but few studies within music therapy literature....
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This qualitative study examined the experiences of music therapists that work in an environment that promotes censorship practices. There are several studies that discuss censorship practices across helping professions but few studies within music therapy literature. Music therapy code of ethics and education stress the importance of self-reflection and recognizing biases for the therapist, however there is minimal information on biases when applying censorship practices. As a helping profession nonmaleficence is emphasized, however there is a paucity of research that includes the relationship between harm and censorship. Additionally, music therapy research and education identifies the need for culturally responsive practices, however have not included censorship and its effects on the therapist and participants in this movement. In this study seven participants engaged in one semi-structured interview to describe their experiences and relationships with self, clients, coworkers and larger institutions when experiencing censorship practices. Results demonstrate three overarching themes of values and beliefs, responses and navigating power in relationships. Each theme had at least three levels which described the experience of the client, therapist, co-workers and institution. These narratives and results suggest the need for continued research and discussion in the music therapy community on harm that may occur through censoring songs and experiences and ethical implications.
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2023
Chapel
Chapel
Morrow Field House
Morrow Field House
Bailey Library
Bailey Library
Boozel Dining Hall
Boozel Dining Hall
North Hall
North Hall
Old Main
Old Main
Spotts World Culture Building
Spotts World Culture Building
Strain Safety Building
Strain Safety Building
Strain Behavioral Science Building