ABSTRACT
The COVID-19 pandemic has meant that practically all Spanish educational centers have had to adapt the teaching they provide. The case of the musical field in general and that of instrumental practice in particular has had to organize an effective educational response with which to ensure the well-being and learning of students. That is why we have carried out a systematic review based on research questions and a main objective related to the strategies that conservatories and general education centers have adopted in the musical field. Initially we selected a series of databases of recognized international and Hispanic prestige in which to carry out searches with the defined key terms. The different phases of study of the documents were limited by the inclusion criteria and the search formulas, giving rise to the final selection once those documents that appeared duplicates in the databases had been eliminated. The results show how the main strategies in the primary stages are related to collaborative and cooperative work, even in the phase of suppression of educational attendance. In addition, in music conservatories, group instrumental practice has had certain peculiarities during the different phases of the pandemic, with the main strategy carried out by teachers being teacher coordination.
ABSTRACT
The COVID-19 pandemic has meant that practically all Spanish educational centers have had to adapt the teaching they provide. The case of the musical field in general and that of instrumental practice in particular has had to organize an effective educational response with which to ensure the well-being and learning of students. That is why we have carried out a systematic review based on research questions and a main objective related to the strategies that conservatories and general education centers have adopted in the musical field. Initially we selected a series of databases of recognized international and Hispanic prestige in which to carry out searches with the defined key terms. The different phases of study of the documents were limited by the inclusion criteria and the search formulas, giving rise to the final selection once those documents that appeared duplicates in the databases had been eliminated. The results show how the main strategies in the primary stages are related to collaborative and cooperative work, even in the phase of suppression of educational attendance. In addition, in music conservatories, group instrumental practice has had certain peculiarities during the different phases of the pandemic, with the main strategy carried out by teachers being teacher coordination. © 2023, Universidad Pablo de Olavide. All rights reserved.
ABSTRACT
The purpose of this study was to examine the experiences of conductor-teachers and older adult musicians in a New Horizons ensemble engaged in distance online music-making and music learning. This study employed intrinsic and particularistic qualitative case study designs in which older adult musicians and conductor-teachers of a New Horizons orchestra were interviewed and observed for one year during the COVID-19 pandemic. Primary data sources included verbatim interview transcripts of 11 older adult musicians and the principal conductor, e-mail correspondences, video recordings, and the principal conductor's journal entries. Findings distilled from the data included (a) the information communication technology (ICT) and music learning technology (MLT) introduced and the technological pedagogical and content knowledge (TPACK) needed to teach orchestra members and (b) how orchestra members navigated both ICT and MLT to engage in meaningful music-making and music learning in a distance learning environment. Implications for research and practice include challenging implicit assumptions and messages regarding technology use among older adult musicians, continuing post-COVID distance music learning that may lead to promising models for informal music learning, and continued connectivity beyond the locality of the rehearsal hall.
ABSTRACT
Background: Music therapy can be used to influence the physical and emotional state of patients diagnosed with COVID-19. An exploratory systematic review was carried out including observational studies and clinical trials, Pubmed and Scopus were the databases used to carry out the literature search. In addition, clinical trial registries from the World Health Organization International Clinical Trials Registry Platform are included. Objective: To explore the available medical literature on the clinical impact of music therapy in patients diagnosed with COVID-19. Development: Of 39 documents found in the search, two articles are included: a clinical trial and a case report, with a total population of 41 patients. Medical evidence is found to support the favorable clinical impact on oxygen saturation, physical rehabilitation and symptoms associated with stress in patients diagnosed with COVID-19 with and without the need for ventilatory support. Conclusions: Music therapy is a useful tool in the non-pharmacological treatment and rehabilitation of patients with COVID-19. However, new clinical studies with a larger number of sample populations and follow-up times using music therapy in this disease are necessary. © 2023, Editorial Ciencias Medicas. All rights reserved.
ABSTRACT
Supervision in art therapy is a relationship of learning. It provides opportunities for individuals less experienced in the field to reflect about their practicum work under the guidance of someone more experienced. This chapter covers the psychological effects of virtual art therapy interventions, such as through videoconferencing, which increased with the arrival of the COVID pandemic. It examines the complex ideas of virtual art psychotherapy and its virtual healing qualities since "[i]n analytical psychotherapy ... the main pivot of treatment is transference". Just as Schaverien describes the transference of past experiences as being made "live", the chapter describes how virtual art therapy is "live-online". The interaction with clients through virtual means provides the therapists with new opportunities, such as meeting clients in their own space or allowing a digital method, like the Zoom Whiteboard, for clients to create art without having to buy art materials. The use of the Schaverien Talisman and Scapegoat concepts can be applied in a more intimate way by meeting clients virtually at their own home. Thus, with the added virtual element to therapy, we are squaring the Schaverien triangle. (PsycInfo Database Record (c) 2023 APA, all rights reserved)
ABSTRACT
Digital community for art therapists retains lasting principles grounded in a rich history of connection and innovation. Virtual engagement within the field continues to forge strong bonds that unite our professional need for belonging, support, and knowledge online. As technology grows and develops so art therapy's use of its tools, platforms, and applications for community, engagement, and practice. Art therapists have come a long way from the field's small beginnings and activity online. This chapter begins with an overview of the importance of digital communities for the field of art therapy and touch upon past, present, and an imagining of future developments. It presents examples that highlight the sustaining impact and implications of digital community for emerging and practicing art therapists, including how the COVID pandemic shed new light and considerations about the necessity of online connection for the field. A time capsule experiment explores what digital community might look like for art therapists by 2030. With time capsule responses having been collected at the beginning of 2020, some of the predictions have already become reality through the necessities imposed by the COVID pandemic, such as extensive use of videoconferencing to deliver art therapy in a time of social distancing. (PsycInfo Database Record (c) 2023 APA, all rights reserved)
ABSTRACT
The purpose of this instrumental case study was to examine preservice music educators' perceptions of teaching voice lessons to elementary and secondary students during an online synchronous fieldwork experience. I used Garrison et al.'s Community of Inquiry (CoI) framework to analyze the participants' perceptions of cognitive presence (i.e., triggering events, exploration, integration, and resolution), social presence (i.e., emotional expression, open communication, and group cohesion), and teaching presence (i.e., structure and design of the fieldwork experience). During initial lessons, participants cited mostly triggering events and exploration, which occurred alongside indicators of social presence. Participants cited technological challenges associated with online synchronous learning (i.e., teaching presence) may have hindered instances of integration and resolution. Music teacher educators may consider using the CoI framework to structure collaborative and supportive online synchronous fieldwork experiences.
ABSTRACT
The paper presents the investigation of the effectiveness of the online training for future music teachers based on the signature pedagogy at the university. The literature review let us stated the gap in researches which cover online learning strategies for training music teachers in the professional preparation process. Due to the shifting of the educational process to the online way in the emergency situation COVID19 pandemic, the relevance of pedagogical tools for pre-paring of future specialists online extremely increased. The comparative analysis of music education standards in different countries let us determine the set of teachers` professional activities in general school music class. The main contribution is the design of a small private online course based on the signature pedagogy which delivered the set of specific pedagogical tools for training music teacher professional skills online. This course was implemented at [removed for blinded review]. The experimental work was based on the teacher` assessment of online tasks, in which students demonstrated the music teacher` professional skills. The results were proved by the statistical methods of median, standard deviation and Pearson's correlation. The obtained results proved the effectiveness of the online training based on the signature pedagogy which provided learning activities according to the specific features of music teacher professional practice.
ABSTRACT
Japan is rich in cultural properties of great historical and artistic value, of which the most important are protected as nationally designated cultural properties. Intangible cultural properties are techniques that have been handed down from generation to generation, such as theater, music, and craft techniques. In Japan, where the population is aging rapidly, digital archiving is essential for the transmission of intangible cultural assets. In this study, we focused on the musical accompaniment of the Kanuma Imamiya Shrine Festival (Kanuma Autumn Festival), which is designated as a UNESCO Intangible Cultural Heritage and a nationally designated Important Intangible Folk Cultural Property. Although the Kanuma Autumn Festival had to be canceled last year due to the emergency declaration requested by the spread of coronavirus infection, the festival is still being carried on. In this study, we have developed multi-viewpoint viewing system for ohayashi content with the cooperation of the Kamifukatsu Music Preservation Society and evaluated the system through experiments with participants. As a result, we obtained positive feedback from the participants, while those who had experience with musical performances pointed out points that needed to be improved. The controller was used as a method of interaction with the contents, but other methods have not yet been compared. Therefore, we aim to support the inheritance of tradition and examine the most user-friendly interaction method in terms of operability. © 2023 SPIE.
ABSTRACT
The globally experienced suspension of cultural life brought about by the COVID-19 crisis has been duly acknowledged and discussed in a growing number of publications, reports and online seminars, most often in terms of the impact of COVID-19 on the music/culture industry. Despite the worsening pandemic situation in Switzerland and elsewhere during the autumn of 2020, I happened to be conducting field research in the city of St. Gallen (in north-eastern Switzerland) where the authorities opted for a "liberal” handling of the health crisis. As a result, the city's live music venue "Palace”, where I was doing my fieldwork observations, remained open to the public as late as mid-December 2020, albeit with shortened opening hours and with a dancing ban. This allowed me to gain first-hand fieldwork experience during the pandemic's significant constraints on social behaviour. The present article accordingly addresses the ethical dilemmas that I encountered when operating in this "grey zone” of field research, while also documenting the challenges and adjustments that the Palace venue had to undergo during pandemic times from the perspectives of producers, musicians and audiences alike. The article specifically focuses on understanding and analysing changes in the experience of the Palace's sociality and spatiality under social distancing rules. Ultimately, this work provides a different angle on the existing body of music-cultural research, which largely focuses on the cancellations and transformations of music events into virtual gatherings. © Equinox Publishing Ltd 2022.
ABSTRACT
Social media is a crucial communication tool (e.g., with 430 million monthly active users in online forums such as Reddit), being an objective of Natural Language Processing (NLP) techniques. One of them (word embeddings) is based on the quotation, "You shall know a word by the company it keeps,” highlighting the importance of context in NLP. Meanwhile, "Context is everything in Emotion Research.” Therefore, we aimed to train a model (W2V) for generating word associations (also known as embeddings) using a popular Coronavirus Reddit forum, validate them using public evidence and apply them to the discovery of context for specific emotions previously reported as related to psychological resilience. We used Pushshiftr, quanteda, broom, wordVectors, and superheat R packages. We collected all 374,421 posts submitted by 104,351 users to Reddit/Coronavirus forum between January 2020 and July 2021. W2V identified 64 terms representing the context for seven positive emotions (gratitude, compassion, love, relief, hope, calm, and admiration) and 52 terms for seven negative emotions (anger, loneliness, boredom, fear, anxiety, confusion, sadness) all from valid experienced situations. We clustered them visually, highlighting contextual similarity. Although trained on a "small” dataset, W2V can be used for context discovery to expand on concepts such as psychological resilience.
ABSTRACT
At the beginning of the first COVID-19 wave, it was believed that the life of the patients who had safely survived pulmonary complications caused by SARS-CoV-2 would soon return to normal. Today, we know that this is not for all patients the case. Unfortunately, for many patients, COVID-19 changed into Long COVID – not a life-threatening condition such as the short period of the infection with the coronavirus but with the potential to considerably reduce the quality of life. Notably, Long COVID manifests itself in major pathological alteration in the brain, besides other organs. It is unclear whether the alterations in the brain are reversible. Alterations include but are not limited to cognitive impairment and substantial reduction of grey matter. These clinical findings represent an urgent challenge for the design of nanomedicines targeting the brain and the mode of their application. The challenge comprises a third aspect, which is of physical nature and is the key to a revolution in nanomedicine: the blood-brain barrier (BBB). Even if a nanomedicine is effective in vitro, it remains therapeutically useless if it cannot cross the BBB, which safeguards that neither pathogens nor nanoparticles enter the best-protected organ in our body. Here, we present a theoretical model and discuss experimental results, which coherently indicate that it is possible to transiently open the BBB by its mechanical excitation and/or via chemical modification induced by music. © 2022, Andover House, Inc.. All rights reserved.
ABSTRACT
The history of music and art is interwoven with the history of civilisation itself and how societies develop and ultimately express themselves beyond 'better farming', 'better commerce', or 'better killing of armies'. The relatedness to self as a professional musician, whose music had the potential to cause emotional responses in others and even, occasionally, change lives, was perceived differently by others, most importantly the government. Certainly the sense of authenticity as a musician took some wild turns over the course of 2020. Some of the emotions were universal, while others were specifically linked to the status as a musician. Poet laureate of power, herald of freedom-the musician is at the same time within society, which protects, purchases, and finances him, and outside it, when he threatens it with his visions. How musicians relate to audiences and to the political system was a challenge highlighted by the pandemic. There were new ways of connecting with other artists, and to the 'atomised' audiences of the lockdown. (PsycInfo Database Record (c) 2023 APA, all rights reserved)
ABSTRACT
The article focuses on the challenges faced by Contemporary/Commercial choirs during the Covid-19 pandemic and the need for recognition and resources for these genres.
ABSTRACT
The Summer Arts Workshop (SAW) is a community-based art therapy program with a social justice focus. It has been offered through the Helen B. Landgarten (HBL) Art Therapy Clinic at Loyola Marymount University (LMU) since 2007 in partnership with Dolores Mission School in Boyle Heights, a historically under-resourced part of East Los Angeles. In 2020, due to the COVID-19 pandemic and stay-at-home orders in Los Angeles, the SAW leadership team adapted the workshop to an online format. The authors took advantage of the online format to extend the reach of the workshop to several school sites in marginalized communities in Los Angeles County, including a juvenile hall high school, which is a prison for youth in a state youth detention centre. The greatest challenge in adapting to an online format was preserving the core component of the workshop: building trust and healthy attachments through expressive art making. The authors overcame this and other challenges and succeeded in providing connecting experiences for participants and facilitators during a time of social isolation and collective anxiety. This chapter shows how teletherapy can bridge gaps of access, particularly for marginalized populations. (PsycInfo Database Record (c) 2023 APA, all rights reserved)
ABSTRACT
The COVID-19 pandemic brought an increased need for mental health support. Art therapists, like other mental health providers, made rapid decisions to transition from in-person to virtual formats. The Canadian International Institute of Art Therapy (CiiAT) in Victoria, Canada, provides online diploma and certificate programs in art therapy with a requirement for practice in settings, such as hospitals and community organizations. Due to contact restrictions in early 2020, the non-profit Proulx Global Education and Community Foundation, which oversees CiiAT, set up a Virtual Art Therapy Clinic (VATC) to meet the needs of practicum students and serve clients dealing with anxiety and other challenges. Students could continue with their practicum while providing accessible and affordable art therapy services to clients at home. VATC uses the Jane Application as its video conferencing and scheduling platform, which is privacy compliant following Canadian regulations. Clients can virtually receive art therapy services from VATC anywhere globally by setting up appointments with supervised CiiAT student art therapists. This chapter describes a CiiAT student-initiated pilot quantitative research study in which student art therapists recorded their clients' anxiety levels before and after virtual art therapy sessions. (PsycInfo Database Record (c) 2023 APA, all rights reserved)
ABSTRACT
The outbreak of COVID-19 has witnessed various human responses both scientifically and socially. As a way of slowing down the infection rate, "social distancing" was introduced as a strategy globally, and it places significant limitation on physical interactions. However, the social media space offered limitless opportunities for social interactions and public conversations on the pandemic. Music, as a creative form of art, provides a platform for communication and representation of motivation and resilience among the people during challenging times. This study discusses how the making and sharing of music on social media contributes to young people's representation of and response to COVID-19 in Nigeria. Data were collected through selected COVID-19-related music videos by young people on Facebook and YouTube and were content-analysed. Using an interdisciplinary approach, this study contributes to the growing scholarship on COVID-19 by exploring the intersections between musicology, media studies, social sciences and public health. © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023. All rights reserved.
ABSTRACT
The purpose of this survey study was to describe technologies and lesson formats used in virtual applied studio string lessons precipitated by shelter-in-place measures taken in response to the COVID-19 pandemic and to explore teachers' adaptations, perceptions of effectiveness, and feelings toward virtual lessons. Research questions that guided this study included the following: (a) What technologies and lesson formats did teachers use in virtual applied string lessons? (b) How did teachers adapt their teaching approaches to virtual lessons? (c) Did teachers feel these lessons were effective? and (d) What affective responses did teachers have to these lessons? Data were gathered from members of the American String Teachers Association (ASTA;N = 301) who self-identified as "private studio teachers” in their online profiles. Findings illustrate what equipment and technology participants employed in virtual lessons. They also indicated a relatively high rating of participants' self-perceived effectiveness when teaching virtual lessons and that studio teachers had mixed affective responses to the experience. Participants indicated difficulties when teaching tone in the virtual format, which was consistent with their open-ended responses that frequently cited poor sound quality online.
ABSTRACT
BACKGROUND: Most people with dementia live in the community, not in residential care. Therefore, quality informal care for them is critical for managing behavioural and psychological symptoms of dementia (BPSD). Music therapy has been shown to reduce BPSD. However, no randomised controlled trial has examined the effects of music interventions delivered by caregivers in home settings. The HOME-based caregiver-delivered music intervention for people living with dementia (HOMESIDE) trial aims to evaluate the effectiveness of a 12-week music intervention in addition to standard care for BPSD. This article describes the statistical analysis plan. METHODS AND ANALYSIS: HOMESIDE is a large, pragmatic international three-arm parallel-group randomised controlled trial. Dyads (persons with dementia and caregiver) in Australia, Germany, the UK, Poland and Norway were randomised to receive music and standard care, reading and standard care or standard care alone. The primary outcome is BPSD (proxy) of the person living with dementia, measured using the Neuropsychiatric Inventory-Questionnaire (NPI-Q) at 90 and 180 days post-randomisation. Longitudinal analysis will compare NPI-Q severity between music and standard care versus standard care alone. Secondary outcomes include quality of life and depression (both person with dementia and caregiver), cognition (person with dementia only), distress, resilience, competence and caregiver-patient relationship (caregiver only). Treatment effects will be obtained at 90 and 180 days post-randomisation, where applicable. Safety outcomes (adverse events, hospitalisations, deaths) will be summarised. DISCUSSION: This statistical analysis plan provides a detailed methodology for the analysis of HOMESIDE and will improve the validity of the study and reduce the potential for bias. TRIAL REGISTRATION: Australian New Zealand Clinical Trials Registry ACTRN12618001799246. Registered on November 05, 2018. CLINICALTRIALS: gov NCT03907748. Registered on April 09, 2019.
Subject(s)
Dementia , Music , Humans , Caregivers , Australia , Quality of Life , Reading , Dementia/diagnosis , Dementia/therapyABSTRACT
INTRODUCTION: At the start of the COVID-19 pandemic, people with dementia living in the community experienced the sudden loss of their usual activities, and videoconferencing was widely adopted by music groups whilst face-to-face sessions were not possible. This paper reports the findings of a proof-of-concept study of online singing for people living with dementia and their carers, focusing on the experiences of the participants. METHOD: People with dementia and their care partners were invited to take part in 10 weeks of online singing sessions. Each session lasted 1 hour, and comprised time for talking, warming up and singing familiar songs. Participants completed standardised outcome measures at baseline and after 10 weeks. Dyads were invited to take part in a semi-structured interview. RESULTS: In total, 16 pairs were recruited. The response to the online singing group was mostly positive. Participants were able to use the technology to join the sessions, and reported few technical problems. Despite the limitations of online singing, the experience was frequently reported to be enjoyable. Some participants described longer-term benefits, such as improved mood and better relationship between care partners. Some felt online sessions had advantages over face-to-face ones; for example, they were more accessible. However, participants who had previously been attending face-to-face sessions felt that the online singing was a "better than nothing" substitute. CONCLUSIONS: Online singing cannot recreate the experience of group singing face-to-face, and it requires some technical knowledge, but it provides a worthwhile alternative in a time of need for some people with dementia and their carers. Furthermore, for some people online singing may be preferable due to its accessibility. Given the potential for online singing to include people who cannot go out for any reason and its relatively low cost, providers may wish to consider hybrid online/in-person singing groups in future.