Meta-synthesis refers to a range of approaches by which existing qualitative studies in healthcare can be reviewed and compared. There is increasing use of meta-synthesis to ensure the clinical applicability of findings from qualitative studies, in healthcare generally, and in the creative arts therapies specifically. Qualitative method research can sometimes lack immediate clinical relevance, as such studies usually focus on the experiences of a small number of participants. Additionally, the results are often presented in great detail; finely elaborated, and described conceptually. Findings reported in this way can be engaging, and even emotionally compelling, however the utility of these outcomes for clinical practice can be limited. Meta-synthesis of multiple studies aims to ensure that findings from qualitative methods studies can be more easily, and effectively, applied in health and social care programs. Three approaches to metasynthesis are briefly presented here; meta-ethnography, narrative synthesis, and critical interpretive synthesis. A procedure for presentation of meta-synthesis reviews is provided.

This article provides a brief overview of the development of music therapy on the island of Ireland. It describes the first and currently the only training program in music therapy in Ireland at the University of Limerick, some of the work of practitioners through- out the island, traditional music within Ireland, the professional association, and related activities.

Music therapy and play therapy at first glance seem closely related. They both involve playful, creative interactions between a child and a qualified therapist. Additionally, they are both relational therapies, emphasizing the interaction between the participants as a primary means by which positive changes occur for the client. Few publications have sought to examine or reflect on the similarities and potential for collaboration between these disciplines when providing ward-based services in healthcare. To redress the paucity of existing information, we present a discussion of the application of play therapy and music therapy for children in a medical setting. Within this context, we discuss the informative and practical potential in fostering working models based on shared insight from both disciplines.
The chapter presents the approaches taken in play therapy and music therapy in a paediatric hospital setting. Brian, a case study, is used to demonstrate how each professional would respond to, and work with, a child and his family.

The approach known as Anthroposophical Music Therapy (AnMt) was developed throughout the 20th century. In this paper we provide an historical and descriptive overview of the foundations, techniques and methods of AnMt for readers who are not familiar with this model of music therapy training and practice. We trace AnMt’s origins from the systematic application of music in curative education in Germany, Austria and Switzerland through to its use in many countries of the world, with training programmes available in German and English speaking countries currently. We examined literature sources in German and English to glean information about the main foundations of this model. Course materials available from one programme of study were consulted to provide information about how this model is taught. This information was closely reviewed in order to be able to synthesise and present information about a. AnMt’s development and current scope of practice, b. the contents of AnMt training, c. the therapeutic process in AnMt, and d. the use of music in AnMt. It is recommended that further efforts be undertaken from the leaders in AnMt, as well as the current professional associations in countries where it is practised, to consider the potential for its inclusion in the list of recognised trainings and models, if such a step would be considered useful for AnMt practitioners.

Music therapy is the planned use of music to achieve therapeutic aims. This article outlines the role and application of music therapy in special education with reference to findings documented in recent research and practice literature. Music therapy in Australia is practised in medical contexts (e.g., nursing homes, hospice care, hospitals) and education contexts (e.g., special schools, regular schools, and special education development units). Music therapists also work in private practice or in community programs.

Poetry, drama, music, dance, and visual art are increasingly used in healthcare research to learn about the experiences of healthcare workers and recipients, to gain access to marginalized voices, and to communicate research findings to a wide range of people. Despite this emerging inclination towards the recognition of the value of the arts for healthcare research, creative arts processes have had limited use in music therapy research to date. In this article, we reflect on the small body of existing music therapy literature about arts-based research and explore possible reasons for the current neglect of these methods. We provide examples from Alison’s doctoral research that demonstrate the value of using artsbased research for developing a deeper understanding of the profession of music therapy. Our reflection on the current literature leads us to propose further uses for arts-based research practices, for developing rich and evocative findings, accessing the voices of people who receive music therapy services, and communicating music therapy research findings to a broader audience eager for this information.

Self-identified sad music (SISM) is often listened to when experiencing sad life situations. Research indicates that the most common reason people give for listening to SISM is “to be in touch with or express feelings of sadness”. But why might this be the case? We suggest that one reason people choose to listen to sad music when feeling sad is to accept aversive situations. We tested if SISM is associated with acceptance coping and consolation. We hypothesized that SISM relates to acceptance-based coping via the recognition and identification of emotional states, and that people will report more acceptance from SISM than selfidentified happy music when seeking consolation. In Study 1, participants recalled how happy or sad the music sounds that they normally listen to for consolation, and if they listen to this music to gain acceptance of negative moods and situations. In Study 2, participants reported their goals when listening to sad music during a recalled time in which they experienced an adverse life situation and whether this lead to acceptance. Study 1: People reported that they were more likely to listen to sad music than happy music when seeking consolation, though they preferred happy music in general. Listening to SISM (but not self-identified happy music) when seeking consolation was associated with acceptance of both a negative situation and the associated negative emotions. Additionally, seeking to deal with emotions was associated with both SISM listening (for consolation) and acceptance. Study 2: Listening to SISM to get in touch with and express affect was the most important self-regulatory strategy (of six examined) through which acceptance was recalled to be achieved. Experiencing adverse situations or seeking consolation, people report that listening to SISM is associated with acceptance coping (through the re-experiencing of affect). Implications for music therapy and theories of emotional coping are discussed.

Background: Mental health service development internationally is increasingly informed by the collaborative ethos of recovery. Service user evaluation of experiences within music therapy programs allows new phenomena about participation in services to be revealed that might otherwise remain unnoticed. Objective: The aim of this study was to demonstrate how asking service users about their experience of music therapy can generate useful information, and to reflect upon the feedback elicited from such processes in order to gain a deeper understanding of how music therapy is received among service users in mental health. Methods: Six mental health service users described their experiences of music therapy in one or two individual interviews. Transcripts of interviews were analyzed using the procedures and techniques of Interpretative Phenomenological Analysis. Results: Interviews with mental health service users provided rich, in-depth accounts reflecting the complex nature of music therapy participation. Superordinate themes refer to the context in which music therapy was offered, the rich sound world of music in music therapy, the humanity of music therapy, and the strengths enhancing opportunities experienced by service users. Conclusions: Participants indicated that they each experienced music therapy in unique ways. Opinions about the value of music therapy were revealed through an interview process in which the researcher holds an open attitude, welcoming all narrative contributions respectfully. These findings can remind practitioners of the importance of closely tuning into the perspectives and understandings of those who have valuable expertise to share about their experience of music therapy services in mental health.

Music therapy is a valuable tool in distracting children with severe burns for the pain experienced in daily debridement baths. Music therapy allows choice, facilitating the child's sense of being in control. and provides an atmosphere of safety and comfort. This paper reports on the role of music therapy in assisting children aged from eighteen months to five years during daily debridement procedures in the burns unit of a children's hospital. Songs of the child's choice were sung by the therapist. accompanied by guitar. The observations of the therapist indicate that music therapy presented in this way can offer relief from anxiety prior to the bath and is helpful in comforting and distracting children during the bath.

This study investigates the experiences of three students reaching the completion of a two year Masters in Music Therapy program. Three students enrolled in a music therapy graduating class participated in individual interviews. Five themes emerged from the analysis of the interview data about these experiences. These were characterised by a) "strong" feelings and emotions, b) challenges, c) changes in lifestyle, d) coping and e) enjoyment. This information may offer people interested in studying music therapy in the future some insights and may be useful to educators to consider refining what is offered in programmes. Qualified practitioners may use this material to reflect on their own experiences of study and the transition from student to professional life.