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Dissertation - World Federation of Music Therapy

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<strong>of</strong> loss, adversity and hope, and to review their life story in communication with both<br />

therapist and relatives (O’Callaghan 1998). Turry and Turry (1999) documented the<br />

positive effect <strong>of</strong> creative song improvisations with children and adults with cancer.<br />

Together with a client Turry wrote a narrative on the song-improvisation based<br />

therapeutic process (Turry and Logis 1999). Turry (1999) documented the therapeutic<br />

potential <strong>of</strong> song improvisations with children with cancer and blood disorders.<br />

Hilliard (2003) reported from a controlled study (n=80) <strong>of</strong> the influence <strong>of</strong> music<br />

performed live on functional status and quality <strong>of</strong> life (QoL) <strong>of</strong> terminally ill hospice<br />

patients. QoL was higher for those subjects receiving music therapy, and it increased<br />

over time as they received more music therapy sessions.<br />

A few studies include both active and receptive music therapy interventions with<br />

cancer patients (Bunt and Marston-Wyld 1995; Bunt, Burns et al 2000; Waldon<br />

2001).<br />

The first two studies were drawn from a music therapy treatment and research<br />

program that was established at Bristol Cancer Help Centre (UK) in the 1990’s, and<br />

several reports have presented clinical work as well as research projects The music<br />

therapy program combines a weekly music listening experience (both live and<br />

recorded music) and an improvisation session, both in groups. Bunt and Marston-<br />

Wyld (1995) published the first evaluation study, based on semi-structured interviews<br />

with patients, also addressing similarities and differences between music therapy and<br />

counselling. Emphasis was placed on core qualities uniting the two disciplines, the<br />

access to and expression <strong>of</strong> feelings, and the importance <strong>of</strong> the active use <strong>of</strong><br />

instruments in music therapy. Before and after each music therapy session, the<br />

patients gave words and phrases, which described their view <strong>of</strong> music. <strong>Music</strong> and<br />

music making helped stimulate patients physiologically and psychologically, and the<br />

patients became more group-oriented. The next report (Bunt, Burns et al 2000)<br />

investigated the changes observed in the first study in a design integrating<br />

psychological data (using the Mood Adjective Checklist <strong>of</strong> the University <strong>of</strong> Wales<br />

Institute <strong>of</strong> Science and Technology (UWIST-MACL) pre and post active and<br />

receptive sessions), physiological data (salvia testing for sIgA and cortisol pre and<br />

post) and qualitative data from focus group discussions (n = 29). The UWIST-MACL<br />

13

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