Saturday, December 13, 2014
Friday, November 21, 2014
Music and Medicine (MMD) is an integrative forum for clinical practice and research related to music interventions and applications of clinical music strategies in medicine. Each peer-reviewed issue offers original articles, case studies, commentaries, and interviews from clinical medicine, the neurosciences, behavioral sciences, nursing, and social work that translate music, music psychology, music cognition, music neurology, and music therapy into scientifically valid clinical applications. This journal is a member of the Committee on Publication Ethics (COPE)
Tuesday, January 19, 2010
The Historical Background of Medical Resonance Therapy Music
PYTHAGORAS
Physician, musicologist,
mathematician, founder of our
scientific age
he created the preconditions for
utilising harmonically structured
music in medicine
The history of Medical Resonance Therapy Music is ancient – it begins at a time when art, religion, and medicine still formed a unity.
That is why the oldest works of art or religious and philosophical writings of mankind report of the effect of a kind of music which forms the soul, puts social life in order, and heals man holistically.
Even prior to the beginning of our modern calendar, in the sixth century BC, especially the famous physician, mathematician, philosopher, musicologist and musician respectively, Pythagoras, whom I have already mentioned several times, supported the application of a kind of music which was structured according to the laws of harmony of the microcosm of music, and was to have a beneficial effect on the life of the individual in health as well as in harmony with nature.
And the way in which this brilliant scholar approached this matter, finally made him the founder of our scientific era.
At the time of Pythagoras, music had the very conscious task of developing man ethically. All characteristics of this art were concentrated on the objective to naturally put the inner life of the individual human being in order, and to cultivate his soul to live with the creator and his creation in natural harmony – and in this way to also have a healthy inner self.
At that time, this practical task of music was simultaneously a religious, ideological, ethical and purely artistic one.
Pythagoras now aroused in this ethically shaped musical work the idea of modern scientific thinking by starting to objectivise the musical parameters which had so far only been defined religiously, philosophically or artistically – with measurements and numbers. He began to measure music and / or elements of music in terms of mathematics and physics.
For the religious, philosophical, ethical and artistic leaders of that time, this was an enormously revolutionary act which threatened to turn their previous conception of the world upside down – and so it was not a coincidence that Pythagoras got caught in an increasing whirlpool of religious, political, philosophical and artistic dispute and finally even in ideological persecution – for which, with the help of musicological research and the help of physics and mathematics, he prepared to capture the mentioned areas of life: religion, ethics, philosophy and art in an exact knowledge of scientific character, and to thereby demystify them – which, of course, was also linked to a loss of the previous power that the contemporary leaders of social life had.
Pythagoras had verified the natural point of contact of creation between the subjective and objective world in the microcosm of music: between our inner world with our religious, ethical, moral, philosophical and ideological ideas, but also with our talent, with our innate inner traits and abilities on one hand – and the rational world of mathematics, physics, chemistry and biology as well as astronomy on the other hand.
And he wanted to use this microcosm of music to firmly weld together the outer and inner world of man as well as the sciences naturally resulting from this.
And in his famous school for the training of young physicians, scientists and artists he therefore logically taught on one hand:
the intuitive spontaneous inner realisation of the natural laws of harmony of the creator in the microcosm of music of the inner mental imaginative space, meaning in the area of musical intuition or musical creative thinking and feeling, as well as on the other hand
the outer empirical: the scientific realisation of the natural laws of harmony of the microcosm of music with the help of his famous “Monochord”, the mathematical and physical investigation of the microcosm of music and its harmonical connection to other scientific fields of knowledge such as medicine, biology, physics and astronomy
This complex research and teaching work of Pythagoras was directed beyond the aspect of health at the realisation of a standardised field of life and creation, and therefore at the development of a unified field theory, something our modern science also strives for – but contrary to this, Pythagoras, at the same time, included the great areas of religion, ethics, psychology, sociology and art, as well as medicine in this whole process of integrated, subjective and objective achievement of knowledge:
so he combined the arts' intuitive and the scientific objective verifying achievement of realisation with each other, in order to advance to a holistic, standardised view of the inner and outer world, shaped by natural harmony.
On this integrated basis, he wanted to ensure the holistic systematical development of natural human dignity and the protection of life as well as the ecology.
Courtesy: websites on music medicine
Monday, January 18, 2010
Music Therapy in Cerebral vascular accident (stroke)
Music has been shown to affect portions of the brain. Part of this therapy is the ability of music to affect emotions and social interactions. Research by Nayak et al. showed that music therapy is associated with a decrease in depression, improved mood, and a reduction in state anxiety[13]. Both descriptive and experimental studies have documented effects of music on quality of life, involvement with the environment, expression of feelings, awareness and responsiveness, positive associations, and socialization [14]. Additionally, Nayak et al. found that music therapy had a positive effect on social and behavioral outcomes and showed some encouraging trends with respect to mood.[13]
More recent research suggests that music can increase patient’s motivation and positive emotions. [13][15][16] Current research also suggests that when music therapy is used in conjunction with traditional therapy it improves success rates significantly.[17][18][19] Therefore, it is hypothesized that music therapy helps stroke victims recover faster and with more success by increasing the patient’s positive emotions and motivation, allowing them to be more successful and driven to participate in traditional therapies.
Research has shown the ability of music therapy to increase positive social interactions, positive emotions, and motivation in stroke patients. Wheeler et al. found that group music therapy sessions increased the ease at which stroke patients responded to social interaction and increased positive attitude reports from patient families, while individual sessions helped to motivate patients for treatment[16]. Another study examined the effect of music therapy on mood of stroke patients and found similar results that showed decreased anxiety, fatigue, and hostile mood states [15]. Additionally, Nayak et al. found improved social interaction (more actively involved and cooperative) when music therapy was used in stroke recovery programs[13].
Recent studies have examined the effect of music therapy on stroke patients, when combined with traditional therapy. One study found the incorporation of music with therapeutic upper extremity exercises gave patients more positive emotional effects than exercise alone.[17] In another study, Nayak et al. found that rehabilitation staff rated participants in the music therapy group were more actively involved and cooperative in therapy than those in the control group.[13] Their findings gave preliminary support to the efficacy of music therapy as a complementary therapy for social functioning and participation in rehabilitation with a trend toward improvement in mood during acute rehabilitation.
Although positive changes have been associated with music therapy, some considerations must be taken into account. While scientists have determined that a variety of physiological and psychological changes occur when listening to music, broad conclusions cannot yet be made concerning the relationship and the direction of the relationship between music and emotion.[20] Additionally, there may be mediating factors which affect the success of music therapy. For example, Nayak et al. found the more impaired an individual’s social behavior was at the outset of treatment, the more likely he or she was to benefit from music therapy.[13] Additionally, they noted the effectiveness of music therapy may be moderated by the time frame of the treatment. It is possible that music therapy has a more pronounced effect on mood the closer to injury it is applied.
Current research shows that when music therapy is used in conjunction with traditional therapy, it improves rates of recovery, and emotional and social deficits resulting from stroke. [13][17][18][19][21][22] A study by Jeong & Kim examined the impact of music therapy when combined with traditional stroke therapy in a community-based rehabilitation program. [21] Thirty-three stroke survivors were randomized into one of two groups: the experimental group, which combined rhythmic music and specialized rehabilitation movement for eight weeks; and a control group, that received referral information for traditional therapy (and were assumed to have sought traditional therapy). The results of this study showed that participants in the experimental group gained more flexibility, wider range of motion, more positive moods, and increased frequency and quality of social interactions.[21]
Music has also been used in recovery of motor skills. Rhythmical auditory stimulation in a musical context in combination with traditional gait therapy improved the ability of stroke patients to walk.[18] The study consisted of two treatment conditions, one which received traditional gait therapy and another which received the gait therapy in combination with the rhythmical auditory stimulation. During the rhythmical auditory stimulation, stimulation was played back measure by measure, and was initiated by the patient’s heel-strikes. Each condition received fifteen sessions of therapy. The results revealed that the rhythmical auditory stimulation group showed more improvement in stride length, symmetry deviation, walking speed and rollover path length (all indicators for improved walking gait) than the group that received traditional therapy alone.[18]
Schneider et al. also studied the effects of combining music therapy with standard motor rehabilitation methods[19]. In this experiment, researchers recruited stroke patients without prior musical experience and trained half of them in an intensive step by step training program that occurred fifteen times over three weeks, in addition to traditional treatment. These participants were trained to use fine both fine and gross motor movements by learning how to use the piano and drums. The other half of the patients received only traditional treatment over the course of the three weeks. Three-dimensional movement analysis and clinical motor tests showed participants who received the additional music therapy had significantly better speed, precision, and smoothness of movements as compared to the control subjects. Participants who received music therapy also showed a significant improvement in every-day motor activities as compared to the control group [19]. Wilson, Parsons, & Reutens looked at the effect of melodic intonation therapy (MIT) on speech production in a male singer with severe Broca’s aphasia[22]. In this study, thirty novel phrases were taught in three conditions: unrehearsed, rehearsed verbal production (repetition), or rehearsed verbal production with melody (MIT). Results showed that phrases taught in the MIT condition had superior production, and that compared to rehearsal, effects of MIT lasted longer.
Another study examined the incorporation of music with therapeutic upper extremity exercises on pain perception in stroke victims [17]. Over the course of eight weeks, stroke victims participated in upper extremity exercises (of the hand, wrist, and shoulder joints) in conjunction with one of the three conditions: song, karaoke accompaniment, and no music. Patients participated in each condition once, according to a randomized order, and rated their perceived pain immediately after the session. Results showed that although there was no significant difference in pain rating across the conditions, video observations revealed more positive affect and verbal responses while performing upper extremity exercises with both music and karaoke accompaniment [17]. Nayak et al. [13] examined the combination of music therapy with traditional stroke rehabilitation and also found the addition of music therapy improved mood and social interaction. Participants who had suffered traumatic brain injury or stroke were placed in one of two conditions: standard rehabilitation or standard rehabilitation along with music therapy. Participants received three treatments per week for up to ten treatments. Therapists found that participants who received music therapy in conjunction with traditional methods had improved social interaction and
More recent research suggests that music can increase patient’s motivation and positive emotions. [13][15][16] Current research also suggests that when music therapy is used in conjunction with traditional therapy it improves success rates significantly.[17][18][19] Therefore, it is hypothesized that music therapy helps stroke victims recover faster and with more success by increasing the patient’s positive emotions and motivation, allowing them to be more successful and driven to participate in traditional therapies.
Research has shown the ability of music therapy to increase positive social interactions, positive emotions, and motivation in stroke patients. Wheeler et al. found that group music therapy sessions increased the ease at which stroke patients responded to social interaction and increased positive attitude reports from patient families, while individual sessions helped to motivate patients for treatment[16]. Another study examined the effect of music therapy on mood of stroke patients and found similar results that showed decreased anxiety, fatigue, and hostile mood states [15]. Additionally, Nayak et al. found improved social interaction (more actively involved and cooperative) when music therapy was used in stroke recovery programs[13].
Recent studies have examined the effect of music therapy on stroke patients, when combined with traditional therapy. One study found the incorporation of music with therapeutic upper extremity exercises gave patients more positive emotional effects than exercise alone.[17] In another study, Nayak et al. found that rehabilitation staff rated participants in the music therapy group were more actively involved and cooperative in therapy than those in the control group.[13] Their findings gave preliminary support to the efficacy of music therapy as a complementary therapy for social functioning and participation in rehabilitation with a trend toward improvement in mood during acute rehabilitation.
Although positive changes have been associated with music therapy, some considerations must be taken into account. While scientists have determined that a variety of physiological and psychological changes occur when listening to music, broad conclusions cannot yet be made concerning the relationship and the direction of the relationship between music and emotion.[20] Additionally, there may be mediating factors which affect the success of music therapy. For example, Nayak et al. found the more impaired an individual’s social behavior was at the outset of treatment, the more likely he or she was to benefit from music therapy.[13] Additionally, they noted the effectiveness of music therapy may be moderated by the time frame of the treatment. It is possible that music therapy has a more pronounced effect on mood the closer to injury it is applied.
Current research shows that when music therapy is used in conjunction with traditional therapy, it improves rates of recovery, and emotional and social deficits resulting from stroke. [13][17][18][19][21][22] A study by Jeong & Kim examined the impact of music therapy when combined with traditional stroke therapy in a community-based rehabilitation program. [21] Thirty-three stroke survivors were randomized into one of two groups: the experimental group, which combined rhythmic music and specialized rehabilitation movement for eight weeks; and a control group, that received referral information for traditional therapy (and were assumed to have sought traditional therapy). The results of this study showed that participants in the experimental group gained more flexibility, wider range of motion, more positive moods, and increased frequency and quality of social interactions.[21]
Music has also been used in recovery of motor skills. Rhythmical auditory stimulation in a musical context in combination with traditional gait therapy improved the ability of stroke patients to walk.[18] The study consisted of two treatment conditions, one which received traditional gait therapy and another which received the gait therapy in combination with the rhythmical auditory stimulation. During the rhythmical auditory stimulation, stimulation was played back measure by measure, and was initiated by the patient’s heel-strikes. Each condition received fifteen sessions of therapy. The results revealed that the rhythmical auditory stimulation group showed more improvement in stride length, symmetry deviation, walking speed and rollover path length (all indicators for improved walking gait) than the group that received traditional therapy alone.[18]
Schneider et al. also studied the effects of combining music therapy with standard motor rehabilitation methods[19]. In this experiment, researchers recruited stroke patients without prior musical experience and trained half of them in an intensive step by step training program that occurred fifteen times over three weeks, in addition to traditional treatment. These participants were trained to use fine both fine and gross motor movements by learning how to use the piano and drums. The other half of the patients received only traditional treatment over the course of the three weeks. Three-dimensional movement analysis and clinical motor tests showed participants who received the additional music therapy had significantly better speed, precision, and smoothness of movements as compared to the control subjects. Participants who received music therapy also showed a significant improvement in every-day motor activities as compared to the control group [19]. Wilson, Parsons, & Reutens looked at the effect of melodic intonation therapy (MIT) on speech production in a male singer with severe Broca’s aphasia[22]. In this study, thirty novel phrases were taught in three conditions: unrehearsed, rehearsed verbal production (repetition), or rehearsed verbal production with melody (MIT). Results showed that phrases taught in the MIT condition had superior production, and that compared to rehearsal, effects of MIT lasted longer.
Another study examined the incorporation of music with therapeutic upper extremity exercises on pain perception in stroke victims [17]. Over the course of eight weeks, stroke victims participated in upper extremity exercises (of the hand, wrist, and shoulder joints) in conjunction with one of the three conditions: song, karaoke accompaniment, and no music. Patients participated in each condition once, according to a randomized order, and rated their perceived pain immediately after the session. Results showed that although there was no significant difference in pain rating across the conditions, video observations revealed more positive affect and verbal responses while performing upper extremity exercises with both music and karaoke accompaniment [17]. Nayak et al. [13] examined the combination of music therapy with traditional stroke rehabilitation and also found the addition of music therapy improved mood and social interaction. Participants who had suffered traumatic brain injury or stroke were placed in one of two conditions: standard rehabilitation or standard rehabilitation along with music therapy. Participants received three treatments per week for up to ten treatments. Therapists found that participants who received music therapy in conjunction with traditional methods had improved social interaction and
MUSIC MEDICINE - forms
There are a few different philosophies of thought regarding the foundations of Music Therapy. One is based on education and two are based on music therapy itself, both of which will only be briefly covered here. In addition, there are philosophies based on psychology, and one based on neuroscience.
Different approaches from education are Orff-Schulwerk (Orff), Dalcroze Eurhythmics, and Kodaly. The two philosophies that developed directly out of music therapy are Nordoff-Robbins and the Bonny Method of Guided Imagery and Music. [5]
Music therapists work many times with individuals who have behavioral-emotional disorders. To meet the needs of this population, music therapists have taken current psychological theories and used them as a basis for different types of music therapy. Different models include behavioral therapy, cognitive behavioral therapy, and psychodynamic therapy.[6]
The therapy model based on neuroscience is called Neurological Music Therapy (NMT). A definition of NMT is "NMT is based on a neuroscience model of music perception and production, and the influence of music on functional changes in nonmusical brain and behavior functions."[7] In other words, NMT studies how the brain is without music, how the brain is with music, measures the differences, and uses these differences to cause changes in the brain through music that will eventually effect the client non-musically. As internationally known professor and researcher Dr. Thaut said, "The brain that engages in music is changed by engaging in music."[8]
Different approaches from education are Orff-Schulwerk (Orff), Dalcroze Eurhythmics, and Kodaly. The two philosophies that developed directly out of music therapy are Nordoff-Robbins and the Bonny Method of Guided Imagery and Music. [5]
Music therapists work many times with individuals who have behavioral-emotional disorders. To meet the needs of this population, music therapists have taken current psychological theories and used them as a basis for different types of music therapy. Different models include behavioral therapy, cognitive behavioral therapy, and psychodynamic therapy.[6]
The therapy model based on neuroscience is called Neurological Music Therapy (NMT). A definition of NMT is "NMT is based on a neuroscience model of music perception and production, and the influence of music on functional changes in nonmusical brain and behavior functions."[7] In other words, NMT studies how the brain is without music, how the brain is with music, measures the differences, and uses these differences to cause changes in the brain through music that will eventually effect the client non-musically. As internationally known professor and researcher Dr. Thaut said, "The brain that engages in music is changed by engaging in music."[8]
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