Music-Based Affect Regulation and Unhealthy Music Use Explain Coping Strategies in Adults with Mental Health Conditions

"It is more Important than food sometimes"; Meanings and Functions of Music in the Lives of Autistic Adults Through a hermeneutic-phenomenological Lense

Subjective experiences of autistic adults remain under-researched, especially in the field of art. To learn more about their uses and functions of music, we interviewed 13 autistic adults and through a hermeneutic-phenomenological analysis found four overarching themes: Well-being, Identity and self-development, Connectedness, and Negative experiences. Findings show a broad and deep meaning of music in their lives, spanning from seemingly trivial functions such as making chores more enjoyable, to existential questions, such as choosing to stay alive. We discuss the often-overlooked negative effects or experiences of music, noting that positive and negative effects must always be addressed together if we are to use music to lower stress and support well-being.

Development of a person-centered caregiver singing model for formal caregivers of people living with dementia in South Africa

This action research study explored the co-design of a person-centered caregiver singing (PCCS) protocol and caregivers' experiences of applying the PCCS intervention with people living with dementia. Eight caregivers across two care homes participated in four iterative cycles aimed at refining the training. Qualitative data collected from semi-structed group interviews, individual interactions and researcher reflections were analysed via thematic analysis which informed the refinements to the training protocol. A Person-Centered Caregiver Singing Model was developed from the thematic findings relating to caregivers' experiences of applying the PCCS intervention: enhanced caregiver capabilities, resident's wellbeing, improved relationship, the positive ecological shift, and ease of caregiving. PCCS fostered caregivers' empathy and self-efficacy, helping them better attune to and meet the needs of people with dementia. Findings suggest music therapists could share music therapy-informed skills with caregivers for use in daily care. Further research would be beneficial to understand the relationship between live music interventions and caregivers' self-efficacy and empathy, and to explore the training barriers in South Africa.

Training formal caregivers in the use of live music interventions during personal care with persons living with dementia: a systematic mixed studies review

OBJECTIVES

To examine research on the training of formal caregivers in live music interventions within care situations with persons with dementia.

METHODS

This review was registered with PROSPERO (CRD42020196506). PubMed, PsycINFO (Ovid), MEDLINE, Discovery EBSCO, Embase, CINAHL (Complete), AMED and ProQuest Dissertations and Theses Global were searched in September 2020 and again in October 2022. English, peer-reviewed studies on formal caregivers trained in using live music when caring one-on-one with persons with dementia were included. The Mixed Methods Assessment Tool (MMAT) was employed to assess quality, and narrative synthesis with effect sizes (Hedges-g) and thematic analysis were used for quantitative and qualitative studies respectively.

RESULTS

Nine studies (four qualitative, three quantitative, two mixed methods studies) were included. Quantitative studies demonstrated significant differences for music training on outcomes measuring agitation and emotional expression. Thematic analysis yielded five themes: emotional wellbeing; mutual relationship; shifts in caregivers' experiences; care environment; and insights into person-centered care.

CONCLUSION

Training for staff in live music interventions may benefit the delivery of person-centered care by supporting communication, easing care, and capacitating caregivers to meet the needs of persons with dementia. Findings appeared context specific due to high heterogeneity and small sample sizes. Further research on quality of care and caregiver outcomes, and sustainability of training is recommended.

Spontaneous motor tempo contributes to preferred music tempo regardless of music familiarity

Music, and listening to music, has occurred throughout human history. However, it remains unclear why people prefer some types of music over others. To understand why we listen to a certain music, previous studies have focused on preferred tempo. These studies have reported that music components (external), as well as participants' spontaneous motor tempo (SMT; internal), determine tempo preference. In addition, individual familiarity with a piece of music has been suggested to affect the impact of its components on tempo preference. However, the relationships among participants' SMT, music components, and music familiarity as well as the influence of these variables on tempo preference have not been investigated. Moreover, the music components that contribute to tempo preference and their dependence on familiarity remain unclear. Here, we investigate how SMT, music components, and music familiarity simultaneously regulate tempo preference as well as which music components interact with familiarity to contribute to tempo preference. A total of 23 participants adjusted the tempo of music pieces according to their preferences and rated the familiarity of the music. In addition, they engaged in finger tapping at their preferred tempo. Music components, such as the original tempo and the number of notes, were also analyzed. Analysis of the collected data with a linear mixed model showed that the preferred tapping tempo of participants contributed to the preferred music tempo, regardless of music familiarity. In contrast, the contributions of music components differed depending on familiarity. These results suggested that tempo preference could be affected by both movement and memory.

A Systematic Review of Music-Based Interventions to Improve Treatment Engagement and Mental Health Outcomes for Adolescents and Young Adults

Mental health disorders and suicidality are rising among adolescents and young adults (A-YA) while rates of treatment engagement remain notoriously low. Emerging research supports the potential of music-based interventions to improve mental health, but their efficacy remains unclear for A-YA. This systematic review evaluates the evidence on music-based psychosocial interventions to improve engagement in treatment and/or mental health outcomes among A-YA. This review was prospectively registered with PROSPERO and followed the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines. Twenty-six studies were extracted. There was heterogeneity of designs, populations, measures, and outcomes. A typology of music-based interventions emerged, which is characterized by combinations of three broad categories: 1) Somatosensory, 2) Social-Emotional, and 3) Cognitive-Reflective. Most interventions are Socio-Cognitive and Holistically Integrated (combines all three) followed by Socio-Somatic. All interventions involved Social-Emotional processes. Results indicate that most studies report significant effects for mental health outcomes related to social and emotional improvements and reductions of internalizing symptoms for adolescents. Few studies targeted young adults and effects on engagement were rarely measured. There is a need for more studies that use rigorous methods. This review illuminated a need for interventions that are developmentally and culturally tailored to subgroups. Finally, the field is ripe from more studies that apply experimental therapeutics to conceptualize, operationalize, and test mechanisms of change to improve the understanding of how and for whom music-based interventions work. Recommendations for embedding these innovative strategies into research and practice for A-YA are discussed.

Supplementary Information

The online version contains supplementary material available at 10.1007/s10560-022-00893-x.

Music in Mood Regulation and Coping Orientations in Response to COVID-19 Lockdown Measures Within the United Kingdom

Music is a tool used in daily life in order to mitigate negative and enhance positive emotions. Listeners may orientate their engagement with music around its ability to facilitate particular emotional responses and to subsequently regulate mood. Existing scales have aimed to gauge both individual coping orientations in response to stress, as well as individual use of music for the purposes of mood regulation. This study utilised pre-validated scales through an online survey (N = 233) in order to measure whether music's use in mood regulation is influenced by coping orientations and/or demographic variables in response to the lockdown measures imposed in the United Kingdom, as a consequence of the COVID-19 pandemic. Whilst factor analyses show that the existing theoretical structure of the COPE model has indicated a poor fit for clustered coping orientations, a subsequent five-factor structure was determined for coping orientations in response to lockdown. Analyses include observations that positive reframing and active coping (Positive Outlook) were strong predictors of music use in mood regulation amongst listener's coping strategies, as was Substance Use. Higher Age indicated having a negative effect on music's use in mood regulation, whilst factors such as gender were not seen to be significant in relation to the use of music in mood regulation within this context. These results provide insight into how individuals have engaged with music orientated coping strategies in response to a unique stressor.

It’s...Complicated: A Theoretical Model of Music-Induced Harm

While literature exists supporting the use of music for health promotion, scholars have also noted the potential for music-induced harm and other maladaptive effects of music. Harm is a multifaceted construct that can include affective, behavioral, cognitive, identity, interpersonal, physical, and spiritual aspects. As music also represents a multifaceted experience, the relationship between music and harm is complex and can include numerous contextual-, deliverer-, music-, and recipient-based factors. Music-induced harm (MIH) also needs to be clearly defined to understand and protect against it. Therefore, the purpose of this article was to explore the numerous factors influencing how music can result in harm and develop a theoretical model that could be used to inform safe music practices. Drawing from existing models of emotional responses to music, music intervention reporting guidelines, therapeutic functions of music, and holistic wellness, we explored how the interplay between the deliverer, music, and recipient can result in various types of MIH in diverse contexts. We then developed the MIH model to integrate these factors and connect the model with the existing literature. The MIH model highlights the relevance of academic and clinical training, credentialing, occupational regulation, continuing education, and professional organizations that provide accredited curricular oversight to protect people from MIH. Implications for clinical application, limitations, and suggestions for future research are provided.