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The value of group music therapy for bereaved young people has been described in a number of studies using both qualitative and quantitative approaches. This article details a qualitative investigation of a school-based program in Australia and presents the results of a grounded theory analysis of focus-group interviews conducted with adolescents....
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Citations
... Music therapy research has shared about supporting youth who have experienced interpersonal trauma (Robarts, 2014;Sofield, 2023;Zanders, 2015) and bereavement (Dalton & Krout, 2005, 2006McFerran, 2010;McFerran et al., 2010;Myers-Coffman et al., 2020;Roberts & McFerran, 2013) separately, yet research has yet to explicitly examine these intersections. Quantitative studies outside the profession highlight how exposure to intimate partner violence, sexual abuse, caregiver mental health challenges, and caregiver chemical dependence prior to parental loss negatively correlates with resilience (Macedo et al., 2018;Vaswani & Gillon, 2019), yet qualitative research providing an in-depth understanding of lived experiences is limited. ...
... Dalton and Krout (2005) conducted a study using semi-structured group songwriting and found that their program improved grief processing. McFerran (2010) proposed from her grounded theory study that songwriting may be a means for more sustained interactions and exploration of the adolescents' grief because it offers "a platform for honest and authentic expression that is grounded in their everyday culture of music listening" (p. 30). ...
... Songwriting can provide new opportunities to understand, cope with, and make meaning from the loss experience. Doing so within a group setting, amongst peers who have also experienced the death of a loved one can help them feel less alone in their experiences (McFerran, 2010). Group songwriting also provides opportunities for peer collaboration and social support, addressing environmental factors highlighted in the Contextual Resilience Model (Sandler et al., 2007). ...
Music therapy research with youth who are grieving often reports on a combination of interventions, such as lyric analysis, improvisation, and/or songwriting. Unfortunately, the lack of theoretical transparency in how and why these interventions affect targeted outcomes limits interpretation and application of this important research. In this exploratory study, the authors evaluated the impact of an 8-session, theory-driven group songwriting program on protective factors in adolescent bereavement, and also sought to better understand adolescents' experiences of the program. Using a single-group, pretest-posttest convergent mixed methods design, participants were enrolled from three study sites and included 10 adolescents (five girls and five boys), ages 11–17 years, who self-identified as grieving a loss. Outcomes measured included grief, coping, emotional expression, self-esteem, and meaning making. Qualitative data were captured through in-session journaling and semi-structured interviews. There were no statistically significant improvements for grief, self-esteem, coping, and meaning making. Individual score trends suggested improvements in grief. The majority of the participants reported greater inhibition of emotional expression, and this was statistically significant. Thematic findings revealed that the program offered adolescents a sense of togetherness, a way to safely express grief-related emotions and experiences verbally and nonverbally, and opportunities for strengthening music and coping skills. These findings suggest that engaging in collaborative therapeutic songwriting with grieving peers may decrease levels of grief, enhance creative expression, and provide social support. More research is needed on measuring self-esteem, emotional expression, coping, and meaning making outcomes in ways that are meaningful to adolescents.
... Dalton and Krout (2005) conducted a study using semi-structured group songwriting and found that their program improved grief processing. McFerran (2010) proposed from her grounded theory study that songwriting may be a means for more sustained interactions and exploration of the adolescents' grief because it offers "a platform for honest and authentic expression that is grounded in their everyday culture of music listening" (p. 30). ...
... Songwriting can provide new opportunities to understand, cope with, and make meaning from the loss experience. Doing so within a group setting, amongst peers who have also experienced the death of a loved one can help them feel less alone in their experiences (McFerran, 2010). Group songwriting also provides opportunities for peer collaboration and social support, addressing environmental factors highlighted in the Contextual Resilience Model (Sandler et al., 2007). ...
Introduction: Contemporary theories for adolescent bereavement have challenged the idea that bereavement is experienced through a set of specific stages, tasks, or phases and instead consider it a process of change and adaptation following a loss – one that is enmeshed within our personal, interpersonal, social, and cultural contexts. No music therapy intervention studies to date have been guided by adaptive models of adolescent bereavement. Furthermore, few studies have clearly articulated a theoretical rationale for how and why the music therapy interventions aim to impact the targeted outcomes.
Methods: This article details the development of a theory-driven intervention, the Resilience Songwriting Program, guided by an adaptive model of adolescent bereavement. The authors describe the process of identifying an adaptive bereavement model specific to adolescents and developing a music therapy songwriting program based on this model.
Results: The protocol presented in this article connects songwriting processes to protective factors in adolescent bereavement. The program involves eight, 90-minute sessions aimed at enhancing self-esteem, coping, emotional expression, and meaning making. Essential elements of the protocol include: participant agency and collaboration to enhance self-efficacy and self-esteem; use of CBT strategies (i.e. psychoeducation, cognitive reframing, and positive appraisals) to enhance mood, coping, and emotional expression; and flexibility in the songwriting process to support emotional expression and meaning making based on group dynamics and musical aesthetics.
Discussion: Preliminary research has been conducted using the Resilience Songwriting Program, however more research is warranted for intervention refinement.
... Contemporary practice models are based on the premise that in order to meet participant needs, programs should draw on participants' pre-existing resources (Rolvsjord, 2010), including the use of preferred musical styles and materials (McFerran, 2010a). Facilitation strategies emphasise the creation of supportive environments in which young people are encouraged to participate in a way that is comfortable for them (McFerran, 2010b). This often involves a collaborative process in which a shared goal or purpose for participation is established in consultation with key players in early stages (Bolger, 2015), and these frequently require ongoing renegotiation across the life of a program (McFerran & Hunt, 2008). ...
Music and arts programs have increasingly been utilized to promote school engagement. Despite the fact that school engagement and music programs can be understood in myriad ways, little attention has been paid to potential distinctions between the types of music programs that underpin engagement. This article describes an investigation of how and when different types of school engagement were promoted through participation in a range of tailored music programs in four diverse school contexts. Four types of engagement were identified, including individuals’ engagement in learning, peer engagement, connections with different members of the community, and community engagement. The characteristics of each type of program differed according to leadership approach, expectation of students, degree of student engagement, and structure. The benefits of tailoring each music program to meet the unique needs and interests of each school community are illustrated through these findings. Understandings of the relationship between music and school engagement are articulated.
... Therefore, music therapists have reported using a client-directed approach to assessment and the creation of goals of treatment (Baines, 2013). Although assessment was not described specifically, recent studies have suggested that clients may aptly self-identify internal resources when offered a democratic approach to treatment planning (McFerran, 2010). Meadows, Burns, and Perkins (2015) developed a resourceoriented self-rating scale for individuals receiving cancer treatment and supportive music and imagery interventions. ...
This article presents the background, rationale, and development of a resource-oriented music therapy assessment tool for use with verbal adults in a skilled nursing facility. While music therapists have presented music therapy assessment tools to use with older adults residing in skilled nursing, to date, none have utilized a resource-oriented approach. The development of the tool, its evolution, and its use are described. To further explain its use, a case example is presented. Limitations include the tool’s length and reliance on verbal communication. Recommendations are made for collaborating with music therapists and clients to explore the challenges and benefits of developing a resource-oriented assessment tool.
... While not always linked to participation in clubs or societies, the ability for music therapy programs to promote self-expression, and give students an opportunity to have their voices heard is also widely reported (McFerran, 2010;McFerran & Crooke, in press;McFerran et al., 2010;Montello & Coons, 1998). ...
While music therapy courses rarely cover the finer points of social policy, a basic knowledge of how this system of governance works can be highly beneficial for those wanting to maximise their presence and impact in a given field. Taking an ecological approach, this article presents how music therapy as a discipline and practice can be seen as located within structures of policy. Further, it illustrates how understanding these structures can help practitioners and researchers capitalise on the opportunities they provide, and work around the barriers they impose. It does this by providing a background of the ecological model approach, and discussing how this approach can be useful for thinking about the relationship between music therapy and social policy. It then uses the policy situation surrounding music in Australian schools to give a grounded example of how understanding this situation can help position music therapy to meet key policy goals at national and localised levels. It is hoped that increased awareness, and an example of how it can be applied, will empower music therapists to learn about policies in their specific areas, and capitalise on the opportunities they provide. See more: https://normt.uib.no/index.php/voices/article/view/829/685
... Culturally specific music and song are employed in palliative care with children supporting ethnicity and identity (Forrest, 2001). Popular music is prevalent and influential in identity formation in the lives of adolescents (Clements-Cortes, 2010;McFerran, 2010) such that young people believe that music will help them feel better (McFerran, 2010). Using songs from ESL learners' culture or music from the culture in which they live or a combination of both is successful (Schwantes, 2009). ...
... Culturally specific music and song are employed in palliative care with children supporting ethnicity and identity (Forrest, 2001). Popular music is prevalent and influential in identity formation in the lives of adolescents (Clements-Cortes, 2010;McFerran, 2010) such that young people believe that music will help them feel better (McFerran, 2010). Using songs from ESL learners' culture or music from the culture in which they live or a combination of both is successful (Schwantes, 2009). ...
Societal structures create and maintain disparities between persons of dominant and non-dominant status affecting all aspects of the community including healthcare service delivery. Music therapists as healthcare providers have a responsibility to explore ways that social justice approaches can address and mitigate discrimination in music therapy education, research, and practice. Anti-oppressive practice (AOP) offers a systematic way to disassemble inequity in practice and to inspire inclusive practices. In order to consider how music therapy can operate as an anti-oppressive practice, this thesis explored the question; What are the experiences of residents and staff in music therapy as an anti-oppressive practice? Interviews were conducted with older adults in a residential setting who were living with complex health conditions including dementia, and with residents who have dual-diagnosis intellectual deficit/mental illness referred to an assessment service for teens and adults. Analysis of the interviews using Constructivist Grounded Theory indicated that music therapy is perceived as valuable in providing a broad spectrum of support including in improving socialization, mood, and communication, but potential negative impacts can occur if music is not provided sensitively. Music therapy was additionally observed to foster positive relations between staff and residents although some staff considered music therapy was a hassle for them. The song-based music therapy service model developed by the author and described by interviewees were contextualized through a reflection on the service development and training experiences of the author. This is provided through historical description and critical autoethnography. The wider literature about music and human experiences was consulted for further context and rationale. The research processes and findings of the interviews and autoethnography revealed that it is the inclusive collaborative expertise of the music therapist which allows the social justice framework of anti-oppressive practice to be evident in her music therapy service and music therapy research.
... It seems likely that they are more exposed to what friends are discovering through social networking updates, but are nonetheless just as likely to share tastes with parents and family members (Miranda & Claes, 2009). Another, as yet unproven implication, is that the use of music for emotion regulation has increased, and this belief has resulted in a burgeoning interest by researchers, as well as governments that fund these researchers (McFerran, 2010b;Miranda & Gaudreau, 2011;Saarikallio & Erkkila, 2007). ...
... Axial coding was used by some authors to represent another analytical level of ordering common features together, and delineating the relationships between them. Some authors described categories' properties and dimensions (Bonde, 2007;Daveson & O'Callaghan, 2011;Edwards & Kennelly, 2004;McFerran, 2009McFerran, , 2010McFerran, O'Grady, & Roberts, 2010;O'Grady, 2011;O'Grady & McFerran, 2007a, b). Others discussed the range of elements within the findings in statements (e.g., Magee & Davidson, 2004;O'Callaghan & McDermott, 2004). ...
... (Coffey & Atkinson, 1996, p. 45). Finally, seven grounded theories were offered or proposed in narratives of varying lengths (Amir, 1993(Amir, , 1996Bonde, 2007;O'Grady, 2011;O'Grady & McFerran, 2007a, b), including substantive theories (McFerran, 2010;). ...
Grounded theory is one of the most common methodologies used in constructivist (qualitative) music therapy research. Researchers use the term "grounded theory" when denoting varying research designs and theoretical outcomes. This may be challenging for novice researchers when considering whether grounded theory is appropriate for their research phenomena.
This paper examines grounded theory within music therapy research.
Grounded theory is briefly described, including some of its "contested" ideas. A literature search was conducted using the descriptor "music therapy and grounded theory" in Pubmed, CINAHL PsychlNFO, SCOPUS, ERIC (CSA), Web of Science databases, and a music therapy monograph series. A descriptive analysis was performed on the uncovered studies to examine researched phenomena, grounded theory methods used, and how findings were presented,
Thirty music therapy research projects were found in refereed journals and monographs from 1993 to "in press." The Strauss and Corbin approach to grounded theory dominates the field. Descriptors to signify grounded theory components in the studies greatly varied. Researchers have used partial or complete grounded theory methods to examine clients', family members', staff, music therapy "overhearers," music therapists', and students' experiences, as well as music therapy creative products and professional views, issues, and literature. Seven grounded theories were offered.
It is suggested that grounded theory researchers clarify what and who inspired their design, why partial grounded theory methods were used (when relevant), and their ontology. By elucidating assumptions underpinning the data collection, analysis, and findings' contribution, researchers will continue to improve music therapy research using grounded theory methods.
... We believe that young people themselves are best placed to evaluate the benefits of their programmes, notwithstanding the limitations of cognitive and verbal abilities. Consistent with this view is our perception that interviews have previously been used to good effect as a way of gaining insight into group music therapy processes with adolescents, and young people have provided insightful feedback on more conventional programmes (McFerran, 2010b). Interviews are also congruent with the collaborative power-balance advocated in the programme being described, a philosophical perspective that is founded in the work of Gadamer (1991, p. 306). ...
Music programmes facilitated by music therapists are becoming more popular for vulnerable young people in mainstream and alternative school settings, however evaluation strategies have been sparsely documented within the music therapy literature. This article contributes eight interview topics for use in evaluating music programmes with adolescents. A rationale is provided for the need for such a tool with particular reference to the challenges of understanding how helpful a programme has been for young people based only on their behavioural responses. The limitations of using unstructured interviews are also explored because of the tendency to solicit a limited number of perspectives, rather than a more complete and integrated view. Eight topics for shaping evaluation interviews with young people are proposed that are informed by Ken Wilber's conceptual map of four quadrants with inside and outside views – labelled in this paper as eight perspectives. A brief overview of Wilber's quadrant thinking is provided and the rationale for each of the eight topics is then detailed. The responses of six young people are used to illustrate the types of answers that might be anticipated, including descriptions of: emotional engagement in music, feeling understood, expressing identity, safety and intimacy, feeling better, musical and non-musical achievements, relationship changes and musical connections with others. The relevance of the topics is then discussed in context of the music therapy literature and possibilities for adapting the topics to suit the local context are recommended.
