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The Effects of Music Therapy Interventions on Grief and Spirituality of Family Members of Patients in A Hospice Setting
Abstract
The purpose of this study was to investigate the effects of music therapy interventions on grief and spirituality of family members of patients in a hospice setting. The subjects (N = 60) were the family members or significant others of hospice patients who had been in the hospice program for at least 2 weeks. The subjects were divided into a control group (N = 30), the family members of patients previously with no music therapy visit, and an experimental group (N = 30), the family members of patients receiving music therapy interventions. Three imminent patients were also included in both groups. A self-report questionnaire was used for a post-test only in this study and had 5 categories: grief, coping strategies, spirituality, satisfaction with hospice care, and satisfaction for family members’ or significant other’s perceptions of the loved one’s quality of life (QOL). A multivariate analysis of variance (MANOVA) was applied to analyze data in each subtest. There was a significant difference in mean scores of QOL between the control and experimental groups. Although the mean scores of grief and spirituality in the experimental group were higher than the scores of those with no music therapy, a significant difference was not found in the 4 subtests. However, there was a tendency that those who received music therapy showed higher scores than those who did not in each subtest. In addition, the mean scores of family members of imminent patients were much higher than those with no music therapy in all 5 categories. The results in this study support that music has a potential to provide a positive influence for patients and their family members in a hospice setting. Further quantitative research for family members of imminent patients were suggested to provide better music therapy services in a hospice and palliative care.
... Across different approaches to music therapy, spirituality has been discussed more explicitly in the context of palliative and bereavement care (e.g. Kidwell, 2014;Magill, 2005Magill, , 2007Magill, , 2009Okamoto, 2004;Wlodarczyk, 2007) with a significant number of case studies reflecting on the spiritual dimensions of music therapy practice (e.g. Aldridge, 1995Aldridge, , 1999Lee, 1995;Pavlicevic, 2005). ...
... Since Lipe's review, a number of studies have been conducted exploring music therapists' experiences of spiritual moments (Marom, 2004), the impact of music therapists' religion and/or spirituality on their professional identity and work (Barton & Watson, 2013;Elwafi, 2011), the interrelationship between spirituality and particular music therapy approaches (Tsiris, 2009) and music therapists' spiritual beliefs as predictors of theoretical orientation (Potvin, 2013). In addition, some studies have focused on clients' experiences of the healing and spiritual properties of music therapy (McClean, Bunt, & Daykin, 2012) and on the effect of music therapy on the spirituality of patients (Cook & Silverman, 2013;Wlodarczyk, 2007) and of their families (Magill, 2007(Magill, , 2009Okamoto, 2004). Other studies focus on the role of mindfulness in music therapy (Fidelibus, 2004;Mika, 2014) as well as on interdisciplinary approaches such as the combined provision of music therapy and spiritual care for persons with dementia (Kirkland, Fortuna, Kelson, & Phinney, 2014). ...
Despite various theoretical explorations regarding spirituality and music therapy, only a small number of empirical studies have been conducted in this area to date. This study aims to explore and provide a systematic overview of music therapists’ reported perceptions of spirituality and its relevance (or irrelevance) to their music therapy practice. A pragmatic methodological stance informs this study. Data were collected through an online survey questionnaire which was open to qualified and trainee music therapists across the world. Descriptive statistics and thematic analysis were used to analyse the data. A total of 358 music therapists from 29 countries took part in this study. The survey findings provide an insight into music therapists’ perceptions of spirituality including its place in their training, practice and professional life. Also, dilemmas that music therapists face, as well as their suggestions for future action regarding spirituality and music therapy, are explored. To date, this study is one of the largest international music therapy studies on spirituality. Its findings contribute to the growing evidence regarding a subject area that is considered as controversial by many professionals not only in music therapy, but also in other health-related professions.
... The researcher concluded that for patients in a comatose or non-responsive state, music was a successful method to elicit their inner response and moreover, affect their physical well-being. Okamoto (2005) evaluated the use of music therapy interventions on grief and spirituality of family members of patients in a hospice setting. The subjects (N=60) were the family members or significant others of hospice patients and divided into a control group (N=30) where family members received no a music therapy visit, and an experimental group (N=30) that received a music therapy visit. ...
... As is evident from this literature review, music therapy offers significant support for palliative care patients. In summary, music therapy intervention in palliative care affects the interaction between patients and their family members (Beggs, 1991;Martin, 1991;Hilliard 2001;Krout, 2003), anxiety (Gross & Swartz, 1982;Fagen, 1982;Martin, 1991;Hilliard, 2001), quality of life (Hilliard, 2003;Nguyen, 2003), grief and spirituality for both patients and their families (Gilbert, 1977;Martin, 1991;Okamoto, 2005), bereavement support (Bailey, 1984;Beggs, 1991;Whittall, 1991;Hilliard, 2001), and physical pain (Wolf, 1978;Bailey, 1986;Wylie & Blom, 1986;O'Callaghan, 1996b;Colwell, 1997;Rider, 1985;Curtis, 1986;Krout, 2001Krout, , 2003Kerr, 2004). Generally, palliative care aims toward pain management, symptoms management, social, psychological, emotional and spiritual support, and caregiver support. ...
The purpose of this study was to investigate the effect of live music via the iso-principle on pain management in palliative care. A total of forty subjects participated in this study and were evenly divided into two groups: control (recorded classical selections) and experimental (live music via the iso-principle). Groups were matched on the basis of gender and amount of previous music therapy experience. Self-rating of pain using a Graphic Rating Scale (GRS) and pulse rate were measured before music and after music. A univariate analysis of variance was applied to analyze the data obtained from this study. Results from a comparison of pre-test to post-test indicated that there were significant differences between pre-test and post-test on both dependent variables for each group. In other words, both music therapy techniques facilitated subjects’ pain relief and relaxation. Besides, results of a univariate analysis of variance showed that there was a statistically significant difference on self-rating of pain between groups. Live music via the iso-principle was more effective than recorded music on pain management. A statistically significant difference in pulse rate between groups by gender also existed. This study supports that the use of live music via the iso-principle is an effective tool for pain management in palliative care.
... Another research study investigated the effect of music therapy on the families of patients under hospice care. From self-report Likart scale questionnaires with negative to positive responses, Okamoto (2005) found that those who received music therapy scored higher in the area related to positively working through their grief issues. This evidence supports the theory that music has potential to provide positive influence on families experiencing grief due to a terminally ill family member. ...
The purpose of this study was to gather descriptive information about the natural interactions between adult grievers and music. The survey gathered quantitative and qualitative data and yielded a response rate of .06% (141/2547). Results revealed that the majority of participants (94%) intentionally used music during their grief journey. Unique roles of music in grief were discovered and insights were offered as a pattern emerged that reflected the Dual Process Model of Grief (Stroebe & Schut, 1999 Stroebe MS, Schut HAW (1999). The dual process model of coping with bereavement: rationale and description. Death Studies 23 197–224.[Taylor & Francis Online], [Web of Science ®] [Google Scholar]). Future research in this area may contribute to a greater understanding of the natural interactions between grievers and music.
Objective:
Music therapy has experienced a rising demand as an adjunct therapy for symptom management among palliative care patients. We conducted a realist review of the literature to develop a greater understanding of how music therapy might benefit palliative care patients and the contextual mechanisms that promote or inhibit its successful implementation.
Method:
We searched electronic databases (CINAHL, Embase, Medline, and PsychINFO) for literature containing information on music therapy for palliative care. In keeping with the realist approach, we examined all relevant literature to develop theories that could explain how music therapy works.
Results:
A total of 51 articles were included in the review. Music therapy was found to have a therapeutic effect on the physical, psychological, emotional, and spiritual suffering of palliative care patients. We also identified program mechanisms that help explain music therapy's therapeutic effects, along with facilitating contexts for implementation.
Significance of results:
Music therapy may be an effective nonpharmacological approach to managing distressing symptoms in palliative care patients. The findings also suggest that group music therapy may be a cost-efficient and effective way to support staff caring for palliative care patients. We encourage others to continue developing the evidence base in order to expand our understanding of how music therapy works, with the aim of informing and improving the provision of music therapy for palliative care patients.
Abstract: Listening a music soothes irritate nerves, it stir up and melts emotion in tears though a process is unknown. A music CD of 30 minutes duration created by investigator. That consists 8 Indian ragas played through 7 musical instruments by musicians .The limit of each music were2-5 minutes either single or combinations of 2to3 instruments. These Indian ragas effect are followings mood elevators, pleasing nerves, relieve insomnia, brings physical and mental relaxation, prepare deep slumber, soothing CNS and retain emotional outburst. Objectives of the study were to assess the level of distress experiencing among relatives of patients waiting outside critical care unit before and after introduction of intervention of listening above music and also to identify self rating relaxation after listening music half an hour. A pre-experimental one group design was considered suitable for the study considering mortality rate of ICU patients. Result showed distress score was reduced in signifant level and 96% participants experience maximum relaxation. Listening instrumental music has a positive effect on distressed mind and contributes relaxation without adverse effect. Study also revealed relaxing music can be used as an alternate coping measure in difficult situations.
Key wards: Music, Music Therapy, Relaxation, Distress, Indian Ragas
Music therapy is increasingly used in end-of-life care, with a growing number of music therapists being employed in hospices and hospital-based palliative care programs each year. Music therapy in end-of-life care aims to improve a person's quality of life by helping relieve symptoms, addressing psychological needs, offering support and comfort, facilitating communication, and meeting spiritual needs. In addition, music therapists assist family and caregivers with coping, communication, and grief/bereavement. Music therapy requires the implementation of a music intervention by a trained music therapist, the presence of a therapeutic process, and the use of personally tailored music experiences. These music experiences may include listening to live, therapist-composed, improvised, or pre-recorded music, performing music on an instrument, improvising music spontaneously using voice or instruments, composing music, and music combined with other modalities (e.g. movement, imagery, art). Results indicate that music therapy may have a beneficial effect on the quality of life of people in end-of-life care. However, the results stem from a limited number of studies and the quality of the evidence is not strong. More research is needed. No evidence of effect was found for pain or anxiety. This may be due to the fact that only two studies with very small samples examined the effects of music therapy on these outcomes. There were insufficient data to examine the effect of music therapy on other physical, psychological, or social outcomes. More research is needed.
The author describes improvisational music therapy from a practical perspective. Improvisational techniques are employed for
assessment, treatment, or evaluation. Under the heading “Preparing for Therapy,” topics include contraindications, the use
of music and improvisation, individual versus group sessions, active versus receptive participation, choicer of modalities,
the physical environment, and the organization of the sessions. In conducting an improvisational session, the author stresses
four important tasks: Preparing the client for therapy, engaging the client in therapy, musical interaction, and reviewing
the experience. In closing, the author stresses that guidelines presented in this paper should not be taken too literally
due to the intense personal nature of improvisation. Thirteen different improvisational models along with a brief description
of each are also tabled in the paper.
This paper presents a description of the use of song (the combination of music and lyrics) in grief therapy with members of the White Mountain Apache Tribe in Cibecue, Arizona. The author is a non-Indian and does not speak the Apache language. This, and several other hindrances in communication, necessitated a tool to facilitate verbal and emotional expression of grief for those referred for relief of somatic symptoms which had no organic etiology. Songs specifically dealing with the death of various family members were written by the author, and used to facilitate grief therapy in a clinical setting.
This article introduces the Santa Clara Strength of Religious Faith Questionnaire (SCSORF) and provides preliminary information on the instrument. The SCSORF is a quick, easy to administer and score, 10-item scale assessing strength of religious faith. The SCSORF and personality and mood measures (i.e., Symptom Check List-90-Revised, Weinberger Adjustment Inventory, Belief in Personal Control Scale, and several author-designed questions) were administered to 102 undergraduate students. Preliminary findings suggest that the SCSORF is both reliable and valid. Furthermore, significant correlations between strength of religious faith, self-esteem, interpersonal sensitivity, adaptive coping, and hope correspond with previous research, suggesting that mental health benefits are associated with strong religious faith. Implications for future research are also discussed.
Hospice care seeks to address the diverse needs of terminally ill patients in a number of physical, psychosocial, and spiritual areas. Family members of the patient often are included in the care and services provided by the hospice team, and hospice clinicians face a special challenge when working with families of patients who are imminently dying. When loved ones are anticipating the patient's impending death, they may find it difficult to express feelings, thoughts, and last wishes. Music therapy is a service modality that can help to facilitate such communication between the family and the patient who is actively dying, while also providing a comforting presence. Music therapy as a way to ease communication and sharing between dying patients and their loved ones is discussed in this article. The ways in which music therapy can facilitate a means of release for both patients and family members in an acute care unit of a large US hospice organization are specifically described. Case descriptions illustrate how music therapy functioned to allow five patients and their families to both come together and let go near the time of death. Elements to consider when providing such services to imminently dying patients and their families are discussed.
As the population ages, it becomes essential for those with an interest in end-of-life care to develop a basic understanding of the workings of hospice. Hospice: Practice, Pitfalls, and Promise providers professionals with a comprehensive overview of the practice of hospice, as well as the challenges faced by and future direction of the hospice movement.
In a cancer setting, patients and their families often report feelings of physical and/or emotional pain. The use of songs
in music therapy is effective in providing them with important means for support and tools for change. The verbal messages
about people, places, feelings, events, and desires encourage resolution of issues and processing of grief. This article reviews
some of the needs of cancer patients and their families and the goals and stages in music therapy. It then explores song choice
themes and methods for achieving therapeutic goals. Two case studies are presented to demonstrate the work.
This study examines the use of song writing in palliative care. Modified grounded theory and content analysis approaches were
used to investigate the lyrical themes and categories (groups of concepts) in 64 songs written by 39 palliative care patients.
The eight themes that emerged in the songs were: self-reflections, compliments, memories, reflections upon significant others
(including pets), self-expression of adversity, imagery, and prayers. The seven most frequently recurring categories were:
compliments to family members, staff, other patients and friends about their personal qualities and their impact upon the
patients' lives; messages of positive feelings for and experiences with people, including love, care and that one needs people;
memories of relationships with people, both living and deceased; existing in the future; expressions of the adverse experiences
resulting from living with the illnesses of multiple sclerosis and cancer descriptions of stories and nature imagery scenes;
and gratitude to family members, staff, and God. The author argues that song writing is a worthwhile technique for some palliative
care patients because the Iyrical themes suggest that the process may aid in meeting their physical, psycho-social, and spiritual
needs. The song writing paradigm that facilitated the palliative care patients' song writing is also presented.
The "Handbook of Religion and Mental Health" is a resource for mental health professionals, religious professionals and counselors. The book describes how religious beliefs and practices relate to mental health and influence mental health care. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Religion as a personal coping resource used by parents of infants and toddlers with disabilities has received some attention in recent literature. This exploratory study involved indepth interviews of 12 parents who had children with disabilities ranging in age from 15 months to 30 years. The ways in which religion can be used as a coping resource across the life-cycle are exemplified through excerpts from these interviews. Prayer, church attendance, and specific religious beliefs were identified as sources of support which helped some parents feel a growing sense of hope and strength. Suggestions for future research are discussed.
The purpose of this study was to evaluate the effects of music on non-responsive patients in a hospice setting. Non-responsive was defined as those patients who were comatose or whose terminal illness had progressed to the point that the patient did not respond to verbal stimuli. A total of 10 subjects participated in the study on two consecutive days. Data were collected on subject’s heart rate and respiration rate at the beginning of each visit, after 10 minutes of silence, and then again after 10 minutes of music. Each subject listened to a classical selection and a new age selection but only one selection was played each day. A two-way repeated measures ANOVA revealed significant differences for both HR and RR across trials but not for type of music. Heart rate and respiration rate data were also analyzed by day 1 vs. day 2. Again, both physiologic measures were significantly lowered following music with no significant differences by day. Results of this study support the continued use for music therapy with hospice patients who are verbally non-responsive.
The purpose of this study was to examine the quality of life, anxiety level, and the family satisfaction of patients’ during their end of life experience within a medical setting. Any patient admitted to Tallahassee Memorial HealthCare that met the criteria of End of Life intervention, as determined by the medical personnel, was considered as a potential subject. The End of Life celebration included any or all of the activities listed: a “song” written about the patient and family, live music as a sing along, patient preferred music to reminisce, and counseling to bring closure for the patient and family. The experimental and control groups were randomly assigned. The experimental group (N=10), received two sessions of music therapy. The first music therapy session was, used to gather family and patient information and also included, singing patient preferred music, seeking information about patient’s favorite song and preference, and assessing patient and family levels of coping. The second music therapy session for the experimental group was the end of life celebration that ended with patient and family providing self-report data on the Visual Analog Scale (VAS) (see Appendix B), Hospice Quality of Life Index (see Appendix D) questionnaire, and the Family Satisfaction Survey (see Appendix C). The control group N=10), agreed to participate in the study but received no music therapy services. However, each control subject completed the Hospice Quality of Life Index- Revised (see Appendix D) questionnaire and a self-report using a Visual Analog Scale (VAS) (see Appendix B) that measured anxiety levels.
There was no change in the usual procedure of hospital care for those subjects. The self-report questionnaire from the Visual Analog Scale, (VAS) showed significantly lower anxiety scores for the experimental subjects then for the control subjects. The Family Satisfaction Survey filled out only by the experimental subjects, also showed a 97% satisfaction of music therapy and its uses in the medical setting. There were no significant differences between groups for quality of life measure.
Examined the effects of music therapy programming, including singing, dancing, and rhythm playing, on participation engagement frequencies of family caregivers and their late stage dementia care receivers. Furthermore, this study assessed caregivers' perceptions of depression, burden, positive and negative affect, self-reported health, and satisfaction with visits through a pretest-posttest procedure. 15 couples, in which one member of the couple had late stage dementia, participated. Results show that caregivers' participation engagements were higher in music applications when compared to conversation, and the greatest participation occurred during rhythm playing, followed by singing and dancing, respectively. Care receivers had greatest participation during rhythm playing, followed by dancing and singing, respectively. Results also showed that caregivers' depression, burden, positive and negative affect, and self-reported health did not change, but their increased satisfaction with visits in music therapy was statistically significant. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
This research investigated the effects of Guided Imagery through Music (GIM) and relaxation techniques on state and trait
anxiety levels. Individuals selected for music therapy treatment consisted of volunteers (staff members and residents) from
the Bridgeway Chemical Dependency/Alcoholism Unit at University Good Samaritan Center. The study took place at the rehabilitation
facility with 16 subjects and involved an experimental group that participated in 10 treatment sessions and a control group
that received no treatment. The purpose was to determine whether or not the GIM training would have an effect on perceived
stress levels. The dependent measures consisted of the State—Trait Anxiety Inventory (STAI) as well as individual self-reports
and evaluations. Test results showed that the experimental group experienced a decrease in perceived situational stress (measured
as state anxiety). Analysis of data indicated that the differences in state scores between groups were statistically significant.
Verbal reports and observations from experimental subjects also corroborated these findings in that all subjects participating
in the experimental group expressed a marked reduction in perceived stress and anxiety following treatment. Overall, the results
indicate that GIM may be of some benefit to persons dealing with chronic stress and anxiety.
The insecurity one experiences following a significant loss is frightening and debilitating.
This book, therefore, is addressed to the professional and personal caregivers who work with bereaved people. . . . Through this, educators can assure a more qualified lay public by sharing available knowledge on caring for and helping the bereaved. Therefore, this volume integrally incorporates practical suggestions for the caregivers to use as they are working with the bereaved person.
While essentially a practical guide, the book is also intended to provide a theoretical framework both for understanding the processes of bereavement and for stimulating further research. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Although religious and spiritual beliefs and practices have been frequently associated with greater psychological well-being among illness populations, little is known about the specific benefits individuals perceive they receive from these beliefs and practices. This issue was examined in interviews with 63 older HIV-infected adults. Participants reported a variety of benefits from their religious and spiritual beliefs and practices, including: (1) evokes comforting emotions and feelings; (2) offers strength, empowerment, and control; (3) eases the emotional burden of the illness; (4) offers social support and a sense of belonging; (5) offers spiritual support through a personal relationship with God; (6) facilitates meaning and acceptance of the illness; (7) helps preserve health; (8) relieves the fear and uncertainty of death; (9) facilitates self-acceptance and reduces self-blame. These perceived benefits suggest potential mechanisms by which religion/spirituality may affect psychological adjustment.
Typescript. Thesis (Ph. D.)--New York University, School of Education, 1999. Includes bibliographical references (leaves 108-113).
Initial observations regarding the use of music therapy at one hospital in the palliative care of patients with advanced malignant disease are presented. In the hands of a trained music therapist, music has proven to be a potent tool for improving the quality of life. The diversity of its potential is particularly suited to the deversity of the challenges - physical, psychosocial and spiritual - that these patients present.
Music and emotion may share certain essential characteristics allowing the depth and breadth of music to resonate with that of emotional experience. It is perhaps this resonance which facilitates the experience, expression and working-through of feelings in music therapy work with the the terminally ill. The author explores five characteristics common to both music and emotion using clinical examples to illustrate how these might be at play in music therapy work in the palliative care setting.
In this paper the author relates how she initially became interested in spiritual care. A synopsis of a literature review is given in which the spiritual dimension is defined and evidence presented for its influence on health, well-being and quality of life. Spiritual care is also presented as part of the nurse's role. However, it is acknowledged that there is a lack of guidelines for the practice of spiritual care. A conceptual framework for the latter is, therefore, proposed by the author. As little is currently known about how nurses perceive the spiritual dimension and their role in spiritual care, the findings from a doctoral study, which examined these issues, are reported and discussed. The descriptive study was part of the author's PhD thesis (Waugh 1992).
The purposes of this study were (1) to describe both religious and nonreligious appraisals of caregiving for a terminally ill patient and (2) to explore the relationship between these appraisals with situational outcomes, mental health outcomes, and spiritual health outcomes in the caregivers. Ninety-two caregivers completed a questionnaire consisting of religious and nonreligious appraisals, general and religious outcomes, depression, anxiety, and purpose in life. Caregivers who appraised their situation as part of God's plan or as a means of gaining strength or understanding from God reported positive outcomes while caregivers who viewed their situation as unjust, as unfair punishment from God, or as desertion from God had low scores on mental and spiritual health outcomes. Religious appraisals made a significant and unique contribution to the prediction of situational outcomes and mental and spiritual health outcomes above and beyond the effects of nonreligious appraisals.
There is an increasing awareness of, and interest in the relationship between spirituality and health. This research examines spiritual well-being as one of six components of hospice patients' overall quality of life. Patients admitted over a four-month period were surveyed, using the Functional Assessment of Cancer Therapy scale (FACT-G), at admission, one month later, three months later, and six months later. Data showed spiritual well-being to be an important contributor to overall quality of life. The article concludes by advocating that providing spiritual care to hospice patients makes good business sense.
This article presents four case studies which demonstrate the use of music therapy in assisting palliative care patients and families cope with grief and loss, pain and anxiety, disorientation and dementia, lack of meaning, and hopelessness. Music therapy techniques are illustrated and patient-related goals are defined within the case studies. A review of the literature supports the use of music therapy in palliative care, and a variety of qualitative and quantitative studies are reported in the article.
Music therapists are constantly called upon to justify their work through research projects and evaluation processes. Rarely do we get the opportunity to talk personally about our work, the effects it has on us as music therapists, indeed, as human beings. This paper traces my own journey as a music therapist working with the terminally ill. Using audio extracts of music improvised with patients at the end of their lives, the concept of “attention” in music is addressed and explored. The paper will investigate:
a) What is the difference between the quality of attention that is available to ourselves and our patients “in” music, as opposed to other ways of being together?;
b) What does musical experience, particularly when achieved through improvisation, enable us and our patients to be that we cannot achieve in other ways?;
c) Can “being in music” with another person fulfil a sense of longing that is evident in people at the end of their lives? In her book Waiting For God, Simone Weil suggests, ‘Those who are unhappy have no need for anything else in this world other than people capable of giving them their attention…” (1). Can the improvisation of music offer a unique and uncomplicated medium for being close?
The purpose of this study was to evaluate the effects of music therapy on quality of life, length of life in care, physical status, and relationship of death occurrence to the final music therapy interventions of hospice patients diagnosed with terminal cancer. Subjects were adults who were living in their homes, receiving hospice care, and were diagnosed with terminal cancer. A total of 80 subjects participated in the study and were randomly assigned to one of two groups: experimental (routine hospice services and clinical music therapy) and control (routine hospice services only). Groups were matched on the basis of gender and age. Quality of life was measured by the Hospice Quality of Life Index-Revised (HQOLI-R), a self-report measure given every visit. Functional status of the subjects was assessed by the hospice nurse during every visit using the Palliative Performance Scale. All subjects received at least two visits and quality of life and physical status assessments. A repeated measures ANOVA revealed a significant difference between groups on self-report quality of life scores for visits one and two. Quality of life was higher for those subjects receiving music therapy, and their quality of life increased over time as they received more music therapy sessions. Subjects in the control group, however, experienced a lower quality of life than those in the experimental group, and without music, their quality of life decreased over time. There were no significant differences in results by age or gender of subjects in either condition. Furthermore, there were no significant differences between groups on physical functioning, length of life, or time of death in relation to the last scheduled visit by the music therapist or counselor. This study provides an overview of hospice/palliative care, explains the role of music therapy in providing care, and establishes clinical guidelines grounded in research for the use of music therapy in improving the quality of life among the terminally ill.
The purpose of this study was to examine whether or not listening to music promotes falling asleep. Twenty university students, who usually listen to music at bedtime, were asked to take a nap in the laboratory while being monitored by a polysomnograph. Each participant selected preferred music to be played as they fell asleep. Stage 2 sleep latency was shorter for those sleeping with music playing compared to the no music control group. This tendency was reversed when participants tried to fall asleep quickly. Differences in sleep latency between the music and control conditions were due to the amount of episodic wakefulness. Results imply that music promotes or interferes with falling asleep by modulating the appearance of episodic wakefulness. Considering the mood, especially pleasantness while falling asleep and the ironic process theory of mental control (Wegner, 1994), the mechanisms of the effects of music on sleep are discussed. There is a possibility that listening to music promotes falling asleep though this may only be effective after balancing other factors.
The purpose of this study was to investigate the differences of experimentally induced anxiety levels reached by subjects listening to no music (n = 30), subjects listening to music selected by the experimenter from the subject's preferred genre or artist listed as relaxing (n = 30), and subjects listening to a specific song they listed as relaxing (n = 30). Subjects consisted of 90 individuals, male and female, randomly assigned to one of the three groups mentioned above. Subjects in either music group filled out a questionnaire prior to participating in the study indicating their preference of music used for relaxation purposes. Subjects in Experimental Group 1 marked their preferred genres and/or artists, and Experimental Group 2 marked specific songs used for relaxation purposes. While the experimenter hypothesized subjects in Experimental Group 2 would show less anxiety than both the control group and Experimental Group 1, there were no significant differences found between the 2 music groups in anxiety levels reached. However, there was a statistically significant difference between the no music control group and both music groups in the anxiety level reached by subjects. Subjects listening to music, both songs chosen by the experimenter and subject selected songs, showed significantly less anxiety than subjects not listening to music.
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