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- Genre: Masters Thesis
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Description
This descriptive research study explored practicing Board-Certified Music Therapists' engagement in self-care as needed from the impact of stress and burnout, as well as perceptions of the music therapy profession and professional association. An online survey was completed by 829 practicing board certified music therapists. Mean scores and percentages of nominal variables were generated from an independent sample. ANOVA was used to compare mean scores of dependent variables with independent variables of two or more categories. Open-ended responses generated extensive qualitative data about stress/burnout, job satisfaction, motivation, and self-care. Those who are not currently members of AMTA reported affordability as the primary reason for not being members. Despite some negative perceptions about the profession and professional association, a significant number of music therapists expressed a passion for what they do. Music therapists appear to have a solid grasp on professional responsibilities and ethics. Although respondents reported an overall high level of job satisfaction, a substantial number agreed that they have considered leaving the profession. Low salary was the most commonly acknowledged reason, followed by the continued need to "sell" music therapy, burnout, stress, limited work opportunities, and workplace politics. Respondents identified healthy diet and rest as primary activities of self-care, followed by recreation/leisure time with loved ones, exercise, hobbies, and prayer. Music therapists reportedly continue to feel motivated and inspired in the profession predominantly because of the gratification/satisfaction of the results of their work, followed by engagement in self-care, loving the work regardless of income, attending conferences and symposiums, diversification among various populations, and keeping professional life separate from personal life. ANOVA results indicated that job satisfaction and engagement in self-care likely increase with age; job satisfaction is higher among married music therapists, those with children, and those with more than 30 years in practice; and those with no children and those with a master's or doctorate degree were more likely to engage in self-care. A variety of implications and recommendations are explored.
ContributorsMurillo, Julie Hoffer (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2013
Description
Beneath the epidermis, the human body contains a vibrant and complex ecology of interwoven rhythms such the heartbeat, the breath, the division of cells, and complex brain activity. By repurposing emergent medical technology into real-time gestural sound controllers of electronic musical instruments, experimental musicians in the 1960s and 1970s – including David Rosenboom – began to realize the expressive potential of these biological sounds. Composers experimented with breath and heartbeat. They also used electroencephalography (EEG) sensors, which register various types of brain waves. Instead of using the sound of brain waves in fixed-media pieces, many composers took diverse approaches to the challenge of presenting this in live performance. Their performance practices suggest different notions of embodiment, a relationship in this music which has not been discussed in detail.
Rosenboom reflects extensively on this performance practice. He supports his EEG research with theory about the practice of biofeedback. Rosenboom’s work with EEG sensors spans several decades and continue today, which has allowed him to make use of advancing sensing and computing technologies. For instance, in his 1976 On Being Invisible, the culmination of his work with EEG, he makes use of analyzed EEG data to drive a co-improvising musical system.
In this thesis, I parse different notions of embodiment in the performance of EEG music. Through a critical analysis of examples from the discourse surrounding EEG music in its early years, I show that cultural perception of EEG sonification points to imaginative speculations about the practice’s potentials; these fantasies have fascinating ramifications on the role of the body in this music’s performance. Juxtaposing these with Rosenboom, I contend that he cultivated an embodied performance practice of the EEG. To show how this might be manifest in performance, I consider two recordings of On Being Invisible.
As few musicologists have investigated this particular strain of musical experimentalism, I hope to contextualize biofeedback musicianship by offering an embodied reading of this milestone work for EEG.
Rosenboom reflects extensively on this performance practice. He supports his EEG research with theory about the practice of biofeedback. Rosenboom’s work with EEG sensors spans several decades and continue today, which has allowed him to make use of advancing sensing and computing technologies. For instance, in his 1976 On Being Invisible, the culmination of his work with EEG, he makes use of analyzed EEG data to drive a co-improvising musical system.
In this thesis, I parse different notions of embodiment in the performance of EEG music. Through a critical analysis of examples from the discourse surrounding EEG music in its early years, I show that cultural perception of EEG sonification points to imaginative speculations about the practice’s potentials; these fantasies have fascinating ramifications on the role of the body in this music’s performance. Juxtaposing these with Rosenboom, I contend that he cultivated an embodied performance practice of the EEG. To show how this might be manifest in performance, I consider two recordings of On Being Invisible.
As few musicologists have investigated this particular strain of musical experimentalism, I hope to contextualize biofeedback musicianship by offering an embodied reading of this milestone work for EEG.
ContributorsJohnson, Garrett Laroy (Author) / Xin Wei, Sha (Thesis advisor) / Ingalls, Todd (Committee member) / Suzuki, Kotoka (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2015