Music and Health Research Collaboratory (MaHRC)
Permanent URI for this collectionhttps://hdl.handle.net/1807/72410
MaHRC is an inter-disciplinary collaborative research center in the Faculty of Music at the University of Toronto. MaHRC conducts basic and translational (clinical) research dedicated to applications of music in the health sciences. For this purpose MaHRC builds research teams from disciplines such as music, aesthetics, neuroscience, medicine, rehabilitation sciences, psychology, engineering, education, and other related fields. MaHRC was established in 2012 and is continuing to formalize affiliations, appoint members, and activate research projects.
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Item Understanding Music Care and Music Care Delivery in Canadian Facility-based Long Term Care(2014-09-05) Foster, BevIn light of current confluences in long term care (LTC), a renewed understanding of music care and music care delivery is needed in Canadian LTC facilities. Ten domains of music care are presented as a conceptual framework in which to clarify these new realities as well as form a basis for music optimization in LTC. In this mixed method study, seven emergent factors which influence music care delivery from a phase one qualitative study in five Ontario LTC homes form the basis of a phase two, pan-Canadian survey in 50 LTC homes. Factors for music care delivery include attitudes towards music care, the nature of music, facility location and design, planning and sustainability, education and awareness, and gaps between theory and practice. Research questions in this exploratory sequential design explore how music care is understood and delivered. Results show several key aspects of understanding music care in Canadian LTC facilities: music is essential, music impacts quality of life and quality of care, music strengthens social agency, staff values music less than residents, music care needs to be understood to be optimized, music care and music therapy are distinct, and music enhances culture change. Phase two findings enriched phase one findings with both congruencies and incongruencies of music care delivery. Six recommendations for LTC leadership are posited. Music care education is proposed as a significant means for music care understanding, optimization and delivery that enhances the resident experience through improved quality of life and quality of care.Item Music Matters: Optimizing Music in Complex Care and Rehabilitation(Bridgepoint Active Healthcare, 2015-04) Nelson, Michelle; Foster, Bev; Bartel, Lee; Berends, Aimee; Lyons, Renee; Pearson, Sarah; Ridgeway, Jennifer; Sinclair, IanThe purpose of this study was to explore how music can be optimized in complex care environments, supporting improved quality of life and outcomes for patients with multiple chronic conditions. The study examined the feasibility of music care in complex rehabilitation and care, and specifically, the music care approach as a strategic framework for music optimization at Bridgepoint Health. A review of research and grey literature on music care models, components and impact of music on quality of care in complex health care settings was conducted. Data was collected to gain information from various Bridgepoint Hospital stakeholders using four methods: 1. Design charrettes – Twenty-nine (29) outside experts with connections to Bridgepoint Health as well as staff from within Bridgepoint offered feedback on music in the new Bridgepoint setting during two evening guided tours and focus groups. Outside experts included architects, artists, designers, professional musicians, composers, music educators, music stakeholders from other Toronto hospitals, Bridgepoint patient family members. Bridgepoint staff included a nurse, geriatric psychiatrist, vice president, and chaplain; 2. Musical café –Twenty-nine (29) Bridgepoint patients participated in a 90-minute afternoon focus group by sharing their lived musical experiences at Bridgepoint and their advice regarding music use at Bridgepoint. Participants came from 11 different units, were mixed in age and gender. The café concluded with a thank you performance for patients with performers Lenny and Wendy Solomon; 3. Electronic questionnaire – Seven (7) Bridgepoint staff responded to a survey delivered through the Daily Dose newsletter which invited ideas for music care; 4. Ideas box – Fifty-eight (58) people from the larger Bridgepoint community submitted music care ideas via 13 idea boxes placed at nursing stations, and other common areas throughout the building.Item Short-Term Effects of Rhythmic Sensory Stimulation in Alzheimer’s Disease: An Exploratory Pilot Study(IOS Press, 2016-05-10) Clements-Cortes, Amy; Ahonen, Heidi; Evans, Michael; Freedman, Morris; Bartel, LeeThis study assessed the effect of stimulating the somatosensory system of Alzheimer’s disease (AD) patients at three stages of their illness with 40 Hz sound. In this AB cross-over study design, 18 participants (6 mild, 6 moderate, 6 severe) each participated in 13 sessions: one intake and 12 treatment. Treatment A consisted of 40 Hz sound stimulation and Treatment B consisted of visual stimulation using DVDs, each provided twice a week over 6 weeks for a total of 6 times per treatment. Outcome measures included: St. Louis University Mental Status Test (SLUMS), Observed Emotion Rating Scale, and behavioral observation by the researcher. Data were submitted to regression analysis for the series of 6 SLUMS scores in treatment A and 6 scores in B with comparison by group. The slopes for the full sample and subgroups in the 40 Hz treatment were all significant beyond alpha = 0.05, while those for the DVD were not. A thematic analysis of qualitative observations supported the statistical findings. 40 Hz treatment appeared to have the strongest impact on persons with mild and moderate AD. Results are promising in terms of a potential new treatment for persons with AD, and further research is needed.Item The Identification of Criteria for the Evaluation of Junior High School Guitar Programs(1983) Bartel, Lee RoyThe problem of this study was to identify, formulate, and validate a set of criteria for the evaluation of junior high guitar programs in the following areas: 1) the rationale for a guitar program; 2) instructional objectives; 3) learning activities and teaching strategies; 4) the evaluation of students; 5) instructional materials, equipment and facilities; 6) class size; 7) time allotment and scheduling; 8) the qualifications of teachers. A proposed set of criteria was identified from a previous study done by the author in which interviews with eleven experts on guitar programs in Manitoba were analyzed for significant statements related to what ought to constitute junior high guitar program in Manitoba. From this proposed set of criteria a questionnaire was created and administered to forty teachers of junior high guitar classes in Manitoba. Teachers were asked to rate the importance of each criterion to a quality guitar program. Responses were received from 32 teachers for a response rate of 80%. The responses were analyzed by assigning a numerical value of 1 to the statements rated "very important," and 4 to the statements rated "of no importance." From this analysis a rating index figure was assigned to each criterion with 2.5 - 1.0 being considered a positive value. Ninety-seven statements were included in the final list of criteria considered valid for the evaluation of guitar programs in Manitoba. The implications of this study include an application of the set of criteria to an actual evaluation of junior high guitar programs. This could bring greater uniformity or standardization to guitar programs in Manitoba. This study also gathered data relating to the status of guitar programs in Manitoba including the number of students in guitar programs, time allotted to programs, the age of programs, and the experience and qualifications of teachers.Item Final Report on the Early Childhood Care and Development Workshop(2002) Bartel, Lee R.Item Item Self-Efficacy in Teachers Teaching Music(2002) Bartel, Lee R. ; Cameron, Linda M.Item Pedagogical Dilemmas in Dance and Music: Balancing the Demands of the Art with the Needs of the Person(2002) Bartel, Lee R. ; Cameron, Linda M.Item Lack of Talent or Miseducation: A Study of Teachers' Perceptions of Inability(1998) Bartel, Lee R. ; Cameron, Linda M.Item Ethics of Early Talent and Identity Formation with Music(2000) Bartel, Lee ; Bellous, Joyce ; Bowman, Wayne ; Peglar, KenItem A Study of the Cognitive-Affective Response to Music(1988) Bartel, Lee RoyThis thesis addresses the philosophical emotional-intellectual dichotomy by attempting to determine the extent to which the cognitive-affective response to music in college students is related to personality traits, preparatory set, and musical style. The researcher created the Cognitive-Affective Response Test--Music (CART-M) on the basis of Meyer (1956), Kivy (1980), Osgood et a1. (1957), and Perlmutter and Perkins (1982), and refined it in three pilot studies. The reliability and validity of the CART-M is described on the basis of three pilot studies and six replications in the main study. The CART-M consists of 9 semantic differential scales loading on a cognitive (structural-textural) dimension and 9 scales loading on an affective (emotional-inspirational) dimension. Responses on each dimension were scaled 3210123 and summed to produce a response score. Musical stimuli were exemplars in three styles: classical (6), jazz (6), country (6). To quantify subjects' self-perception of ability, attitude to music, and beliefs about music, the researcher created the Preparatory Set Profile (PSP). The Myers-Briggs Type Indicator (MBTI) obtained a measure of personality traits. The CART-M, PSP, and MBTI were administered to 146 college undergraduates in Manitoba, Canada. Correlational analysis studied the relationship between response to three styles of music, attitude to music, ability, beliefs about music, and four personality traits: extraversion-introversion, thinking-feeling, sensing-intuition, judging-perceiving. Results showed that the higher the musical ability the more cognitive the response to music; the more "judging" the personality the more cognitive the response; of the three styles response to classical music is most cognitive and jazz is most affective. Factorial ANOVA's were constructed on the basis of PSP and MBTI scores with CART-M scores in the cells. Results revealed that subgroups based on ability, on attitude, and on personality traits differed in response. Cluster analysis identified two subgroups of the sample differing on response to music, ability, attitude, expectation, and personality. The study found evidence to support the theories of musical experience of Meyer and Kivy. The dimensions underlying the CART-M corroborated findings by Crozier (1974), Hargreaves and Colman (198l), Hare (1975), and Miller (1979).Item A Review of “The Music Man”(Canadian Music Educators Association, 2000) Bartel, LeeItem A Review of “The 5000 Fingers of Dr. T.”(Canadian Music Educators Association, 2000) Bartel, LeeItem A Review of “Music of the Heart”(Canadian Music Educators Association, 2000) Bartel, LeeItem Factors in High School Students' Self-Assessment of Music Ability.(Canadian Music Educators Association, 1996) Bartel, Lee R.Item Music Education Research in Canada(Canadian Music Educators Association, 2000) Bartel, Lee R.Item Music Education’s Rehearsal Model(Canadian Music Educators Association, 2001) Bartel, LeeItem What Really Matters in Music Class?(Canadian Music Educators Association, 1996) Bartel, Lee R. ; Cameron, Linda M.
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