Project topics and materials
Get Complete Project Material File(s) Now! »
The relationship between music education and therapy
It has been well established that general music education can significantly enhance various aspects of childhood development. In particular, music activities have been noted for their potential to foster the emotional and social development of children, promoting the acquisition of both self-regulatory and communicative skills (Campbell & Scott-Kassner, 2006:21; Kalani, 2005; Stone, 2005; Kalani, 2004; Isbell & Raines, 2003; Thorsen, 2002:18; Hughes, 1999:201; Skeef, 1999; Young & Glover, 1998; Clark, 1997; Biddle & Dolby, 1996; Kalandyk, 1996; Greig, 1994; Birkenshaw, 1982; Andress, 1980). Following is a brief discussion regarding the therapeutic dimensions of music education as discerned by several researchers.
With regard to the potential therapeutic dimensions of education generally, Skeef (1999:335) believes that true education means attaining wholeness, and that wholeness requires healing. Speaking from the perspective of what he terms “African holism,” Skeef describes his own experiences of the capacity of drumming to resolve conflict and prejudice and to restore a balanced, peaceful, self-confident, empowered, reconciliatory and fulfilled disposition in the individuals and groups involved (1999:336). Goll (1994:70) is in agreement and describes the close relationship and commonalities between the disciplines of music education and music therapy, both of which strive to promote integration and wholeness. In this same regard, Greig (1994:7) remarks that in both education and therapy, an inherent task is to improve self-concept, promote empowerment and enhance personal fulfilment. He describes components intrinsic to music activities that render the process conducive to therapeutic outcomes: the provision of a wide range of experiences, enhancing the opportunity for meaningful participation; the possibility for individuals to participate at their own level; the opportunity to experience success and competence; the affirmation and validation of individuality and uniqueness; and the opportunity for self-expression (Greig, 1994:13). He believes that such characteristics promote self-esteem, which, he asserts, is an element central both to the learning process and to emotional and social health (Greig, 1994:7).
Another aspect that may lend music education to psychologically beneficial ends may be a possible focus on process rather than product (Andress, 1980:vii), or at least a balance between activity and achievement (Biddle & Dolby, 1996:5). Biddle and Dolby (1996:5) emphasise the importance of “activity based lessons” which concentrate on what the child can do and which promote direct experience of working with music and sound rather than other, indirect forms of learning. Music activities such as African drumming have a here-and-now focus that emphasises that which is occurring in the present moment (Friedman, 2000:36).
Furthermore, music education fosters an experiential form of learning (Biddle & Dolby, 1996:5). This allows the child to engage in a process of exploration and self-discovery, fostering a sense of responsibility, choice and personal agency (Schoeman, 1996a:36; Schoeman, 1996e:171; Andress, 1980:vii). This in turn may help nurture a healthy self-concept (Oaklander, 2006:27-28; Schoeman, 1996e:171). Lastly, music activities may possess many of the qualities of play. For example, they are often selfmotivated, pleasurable, non-literal (i.e. imaginative and symbolic) and actively engaging for the sake of the enjoyment they provide (Isbell & Raines, 2003:73; Hughes, 1999:2-3). Some of the benefits of childhood play have been described in brief already. In relation to the previous point, Stone (1995:45) claims that “play provides the natural and experiential learning that supports the child’s construction of his own knowledge of the world and his place in it. It significantly affects the development of the whole child”. As will be discussed in greater detail later, play, being a medium through which children live so much of their lives, represents a highly effective way of engaging and relating to children.
Chapter One: Introduction 1
1. Background and location of the current study
2. Personal motivation
3. Aim of the study
4. Research questions
4.1 The primary research question
4.2 The secondary research questions
4.2.1 Quantitative research questions
4.2.2 Qualitative research questions
5. Delimitation of the study area and sample
6. Limitations of the study
7. Value of the study
8. Research methodology
9. Theoretical framework
10. Ethical considerations
11. Chapter layout
12. Notes to the reader
13. Definition of terms and concepts
Chapter Two: Emotional and social development and the effects of residential placement in middle childhood
1. Middle childhood
1.1 Development of the self-concept
1.1.1 The self-concept and cognitive development
1.2 Emotional development
1.3 Social development
1.3.1 The self-concept and self-regulation
1.3.2 Social competency and peer interaction
1.3.3 Cultural identity, prejudice and discrimination
2. Emotional and social well-being of children within residential care
2.1 The effects of residential care
2.2 The effects of placement and relocation
2.3 The effects of prior trauma resulting in removal from the home
2.3.1 Maltreatment
2.3.2 Domestic violence
2.3.3 Poverty
2.3.4 Family stress
2.3.5 Macro-level factors: Structural violence and social instability
3. Gestalt principles and concepts
3.1 Gestalt theory
3.2 Important principles of Gestalt theory
3.2.1 Organismic self-regulation
3.2.2 Holism
3.2.3 Integration
3.2.4 Contact
3.2.5 Awareness
3.2.6 Structure of the personality
4. Conclusion
Chapter Three: Promoting social and emotional well-being of children in the
middle years utilising African Drumming
1. Music and children
1.1 The importance of music in childhood
1.2 The benefits of general music education
1.3 The relationship between music education and therapy
1.4 Music as a medium for intervention with children
1.4.1 The appropriate duration of therapy with children
1.4.2 Play therapy
1.4.3 Gestalt play therapy
2. Benefits of drumming and rhythm: An overview
2.1 The innately restorative potential of rhythm and drumming
2.2 The psychological benefits of drumming
3. The potential contribution of drumming to enhance the emotional and social
well-being of children
3.1 Drumming to enhance communication and social skills
3.2 Drumming to enhance awareness and contact with the self
3.3 Drumming to strengthen sense of self
3.3.1 Defining the self
3.3.2 Making choices
3.3.3 Experiencing mastery
3.3.4 Owning projections
3.3.5 The setting of boundaries and limitations
3.3.6 The ability to be playful and use the imagination
3.3.7 Experiencing power and control
3.3.8 Contact with one’s aggressive energy
3.4 Drumming as a form of play
4. Conclusion
Chapter Four: Methods for exploring the potential benefits of African drumming with children in residential care
1. Introduction
2. Research design
2.1 Quantitative data collection: Psychological aessment
2.2 Qualitative data collection: Focused observations
2.3 Qualitative data collection: Focus groups and semi-structured interviews
3. Methodology
3.1 Research instrument
3.2 Data
3.2.1 Sampling
3.2.2 Intervention
3.3 Analysis
3.3.1 Quantitative analysis
3.3.2 Qualitative analysis
4. Limitations
5. Ethical procedures
6. Conclusion
Chapter Five: Presentation and discussion of quantitative research findings
Chapter Six: Presentation and discussion of qualitative research findings
Chapter Seven: Findings, conclusions and recommendations
4. Summary of contributions
5. Conclusions
6. Recommendations for further research
