Music therapy is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. Music therapy is an allied health profession and one of the expressive therapies, consisting of an interpersonal process in which a certified music therapist uses music and all of its facets—physical, emotional, mental, social, aesthetic, and spiritual—to help clients to improve or maintain their health. Music therapists primarily help clients improve their health across various domains (e.g., cognitive functioning, motor skills, emotional and affective development, behavior and social skills, and quality of life) by using music experiences (e.g., free improvisation, singing, songwriting, listening to and discussing music, moving to music) to achieve treatment goals and objectives. It is considered both an art and a science, with a wide qualitative and quantitative research literature base incorporating areas such as clinical therapy, biomusicology, musical acoustics, music theory, psychoacoustics, embodied music cognition, aesthetics of music, and comparative musicology. Referrals to music therapy services may be made by other health care professionals such as physicians, psychologists, physical therapists, and occupational therapists. Clients can also choose to pursue music therapy services without a referral (i.e., self-referral).
Music therapists are found in nearly every area of the helping professions. Some commonly found practices include developmental work (communication, motor skills, etc.) with individuals with special needs, songwriting and listening in reminiscence/orientation work with the elderly, processing and relaxation work, and rhythmic entrainment for physical rehabilitation in stroke victims. Music therapy is also used in some medical hospitals, cancer centers, schools, alcohol and drug recovery programs, psychiatric hospitals, and correctional facilities.
History of Music Therapy 
Music has been used as a healing force for centuries. Apollo is god of music and of medicine. Aesculapius was said to cure diseases of the mind by using song and music, and music therapy was used Egyptian temples. Plato said that music affected the emotions and could influence the character of an individual. Aristotle tought that music affects the soul and described music as a force that purified the emotions. Aulus Cornelius Celsus advocated the sound of cymbals and running water for the treatment of mental disorders. Music therapy goes back to biblical times, when David played the harp to rid King Saul of a bad spirit. As early as 400 B.C., Hippocrates, played music for his mental patients. In the thirteenth century, Arab hospitals contained music-rooms for the benefit of the patients. In the United States, Native American medicine men often employed chants and dances as a method of healing patients. The Turco-Persian psychologist and music theorist al-Farabi (872–950), known as "Alpharabius" in Europe, dealt with music therapy in his treatise Meanings of the Intellect, where he discussed the therapeutic effects of music on the soul. Robert Burton wrote in the 17th century in his classic work, The Anatomy of Melancholy, that music and dance were critical in treating mental illness, especially melancholia. Music therapy as we know it began in the aftermath of World Wars I and II. Musicians would travel to hospitals, particularly in the United Kingdom, and play music for soldiers suffering from war-related emotional and physical trauma.
Approaches used in music therapy that have emerged from the field of education include Orff-Schulwerk (Orff), Dalcroze Eurhythmics, and Kodaly. Two models that developed directly out of music therapy are Nordoff-Robbins and the Bonny Method of Guided Imagery and Music.
Music therapists may work with individuals who have behavioral-emotional disorders. To meet the needs of this population, music therapists have taken current psychological theories and used them as a basis for different types of music therapy. Different models include behavioral therapy, cognitive behavioral therapy, and psychodynamic therapy.
One therapy model based on neuroscience, called "neurological music therapy" (NMT), is "based on a neuroscience model of music perception and production, and the influence of music on functional changes in non-musical brain and behavior functions." In other words, NMT studies how the brain is without music, how the brain is with music, measures the differences, and uses these differences to cause changes in the brain through music that will eventually affect the client non-musically. As one researcher, Dr. Thaut, said: "The brain that engages in music is changed by engaging in music." NMT trains motor responses (i.e. tapping foot or fingers, head movement, etc.) to better help clients develop motor skills that help "entrain the timing of muscle activation patterns".
Music therapy for children 
Two common approaches are used when conducting music therapy with children: either as a one-on-one session or in a group setting. When a therapist meets with a child for the first time, customarily the therapist and child develop goals to be met during the duration of their sessions. Music therapy can help children with communication, attention, motivation, and behavioral problems. Therapy rooms should have a wide range of different instruments from different places. They should also be colorful, and have different textures. The therapist should either play a piano or guitar to keep everything grounded and in rhythm. The most important thing, though, is to have high quality and well-maintained instruments. As some children will be able to handle an instrument while others cannot, the child should be given an instrument adapted to them. All these elements help the experience and outcome of the music therapy go better and have more successes for the child. In fact according to Daniel Levitin, it started inside the womb, surrounded by amniotic fluid, the fetus hears sounds. It hears the mother’s heartbeat, at times speed up, at other times slow down, not only that but other music, conversations, and environmental noises. Alexandra Lamont of Keele University in the UK discovered the fetus hears music. She found that, a year after they are born, children recognize and prefer music they were exposed to in the womb. The auditory system of the fetus is fully functional about twenty weeks after conception.
Adolescents with mood disorders 
Music and mood disorders 
According to the Mayo Health Clinic , out of every 100,000 adolescents, two to three thousand will have mood disorders, out of which 8-10 will commit suicide. Two prevalent mood disorders in the adolescent population are clinical depression and bipolar disorder.
On average American adolescents listens to approximately 4.5 hours of music per day and are responsible for 70% of pop music sales. Now with the invention of new technologies, such as the iPod and digital downloads, access to music has become easier than ever. As children make the transition into adolescence they become less likely to sit and watch TV, an activity associated with family, and spend more of their leisure time listening to music, an activity associated with friends.
Adolescents have identified many benefits of listening to music, including emotional, social, and daily life benefits, along with the formation of one’s own identity. Music can provide a sense of independence and individuality, which in turn contributes to one’s own self-discovery and sense of identity. Music also offers adolescents with relatable messages that allow him/her to take comfort in knowing that others feel the same way they do. It can also serve as a creative outlet to release or control emotions and find ways of coping with difficult situations. Music can improve one's mood by reducing stress and lowering anxiety levels, which can help counteract or prevent depression. Music education programs provide adolescents with a safe place to express themselves and learn life skills such as self-discipline, diligence, and patience. These school programs also promote confidence and self-esteem. Ethnomusicologist Alan Merriam (1964) once stated that music is a “universal behavior;” it is something that everyone can identify with. Among adolescents, music is a unifying force, bringing people of different backgrounds, age groups, and social groups together.
Referrals and assessments 
Adolescents may listen to music for its therapeutic qualities, but that does not mean every adolescent needs music therapy. Many adolescents may go through a period of teenage angst, characterized by intense feelings of strife, caused by the development of their brains and bodies. Some adolescents can also develop more serious mood disorders such as major clinical depression and bipolar disorder. Adolescents diagnosed with a mood disorder may be referred to a music therapist based on observations by the diagnosing physician, therapist, or school counselor/teacher. When a music therapist gets a referral it is important to first assess the patient and create goals and objectives for him/her before beginning the actual music therapy. According to the American Music Therapy Association Standards of Clinical Practice assessments should include the “general categories of psychological, cognitive, communicative, social, and physiological functioning focusing on the client’s needs and strengths…and will also determine the client’s response to music, music skills, and musical preferences”  The result of the assessment is used to create an individualized music therapy intervention plan.
Treatment techniques 
There are many different music therapy techniques used with adolescents. The music therapy model is based on various theoretical backgrounds such as psychodynamic, behavioral, and humanistic approaches. Techniques can be classified as active vs. receptive and improvisational vs. structured. The most common techniques in use with adolescents are musical improvisation, the use of precomposed songs or music, receptive listening to music, verbal discussion about the music, and the use of creative media outlets incorporated into the music therapy. Research also showed that improvisation and the use of other media were the two techniques most often used by the music therapists. The overall research showed that adolescents in music therapy “change more when discipline-specific music therapy techniques, such as improvisation and verbal reflection of the music, are used.” The results of this study showed that music therapists should put careful thought and deliberation into their choice of technique with each individual client. In the end, those choices can effect the positive or negative outcomes of music therapy treatment.
To those unfamiliar with music therapy the idea may seem a little strange, but music therapy has been found to be as effective as traditional forms of therapy. In a meta-analysis of the effects of music therapy for children and adolescents with psychopathology, Gold, Voracek, and Wigram (2004) looked at 10 previous studies conducted between 1970 and 1998 to examine the overall efficacy of music therapy on children and adolescents with psychopathology, which can be broken down into three distinct categories: behavioral disorders, emotional disorders, and developmental disorders. The results of the meta-analysis found that “music therapy with these clients has a highly significant, medium to large effect on clinically relevant outcomes.” More specifically, music therapy was most effective on subjects with mixed diagnoses. Another important result was that “the effects of music therapy are more enduring when more sessions are provided.” 
One example of clinical work is that of music therapists who work with adolescents on increasing emotional and cognitive stability, identifying contributing factors of current distress, and initiating changes to alleviate that distress. Music therapy may also focus on improving quality of life and building self-esteem, a sense self-worth, and confidence. Improvements in these areas can be measured by a number of tests, including qualitative questionnaires like Beck’s Depression Inventory, State and Trait Anxiety Inventory, and Relationship Change Scale. Effects of music therapy can also be observed in the patient’s demeanor, body language, and changes in awareness of mood.
Group meetings and one-one sessions are two main methods for music therapy. Group music therapy can include group discussions concerning moods and emotions in/to music, songwriting, and musical improvisation. Groups emphasizing mood recognition and awareness, group cohesion, and improvement in self-esteem can be effective in working with adolescents. Group therapy, however, is not always the best choice for the client. Ongoing one-on-one music therapy has also been shown to be effective. One-on-one music therapy provides a non-invasive, non-judgmental environment, encouraging clients to show capacities that may be hidden in group situations.
Though more research needs to be done of the effect of music therapy on adolescents with mood disorders, most research has been finding positive effects.
As stroke therapy 
Music has been shown to affect portions of the brain. Part of this therapy is the ability of music to affect emotions and social interactions. Research by Nayak et al. showed that music therapy is associated with a decrease in depression, improved mood, and a reduction in state anxiety. Both descriptive and experimental studies have documented effects of music on quality of life, involvement with the environment, expression of feelings, awareness and responsiveness, positive associations, and socialization. Additionally, Nayak et al. found that music therapy had a positive effect on social and behavioral outcomes and showed some encouraging trends with respect to mood.
More recent research suggests that music can increase patient's motivation and positive emotions. Current research also suggests that when music therapy is used in conjunction with traditional therapy it improves success rates significantly. Therefore, it is hypothesized that music therapy helps stroke victims recover faster and with more success by increasing the patient's positive emotions and motivation, allowing them to be more successful and driven to participate in traditional therapies.
Recent studies have examined the effect of music therapy on stroke patients, when combined with traditional therapy. One study found the incorporation of music with therapeutic upper extremity exercises gave patients more positive emotional effects than exercise alone. In another study, Nayak et al. found that rehabilitation staff rated participants in the music therapy group were more actively involved and cooperative in therapy than those in the control group. Their findings gave preliminary support to the efficacy of music therapy as a complementary therapy for social functioning and participation in rehabilitation with a trend toward improvement in mood during acute rehabilitation.
Current research shows that when music therapy is used in conjunction with traditional therapy, it improves rates of recovery and emotional and social deficits resulting from stroke. A study by Jeong & Kim examined the impact of music therapy when combined with traditional stroke therapy in a community-based rehabilitation program. Thirty-three stroke survivors were randomized into one of two groups: the experimental group, which combined rhythmic music and specialized rehabilitation movement for eight weeks; and a control group that sought and received traditional therapy. The results of this study showed that participants in the experimental group gained not only more flexibility and wider range of motion, but an increased frequency and quality of social interactions and positive mood.
Music has proven useful in the recovery of motor skills. Rhythmical auditory stimulation in a musical context in combination with traditional gait therapy improved the ability of stroke patients to walk. The study consisted of two treatment conditions, one which received traditional gait therapy and another which received the gait therapy in combination with the rhythmical auditory stimulation. During the rhythmical auditory stimulation, stimulation was played back measure by measure, and was initiated by the patient's heel-strikes. Each condition received fifteen sessions of therapy. The results revealed that the rhythmical auditory stimulation group showed more improvement in stride length, symmetry deviation, walking speed and rollover path length (all indicators for improved walking gait) than the group that received traditional therapy alone.
Schneider et al. also studied the effects of combining music therapy with standard motor rehabilitation methods. In this experiment, researchers recruited stroke patients without prior musical experience and trained half of them in an intensive step by step training program that occurred fifteen times over three weeks, in addition to traditional treatment. These participants were trained to use both fine and gross motor movements by learning how to use the piano and drums. The other half of the patients received only traditional treatment over the course of the three weeks. Three-dimensional movement analysis and clinical motor tests showed participants who received the additional music therapy had significantly better speed, precision, and smoothness of movements as compared to the control subjects. Participants who received music therapy also showed a significant improvement in every-day motor activities as compared to the control group. Wilson, Parsons, & Reutens looked at the effect of melodic intonation therapy (MIT) on speech production in a male singer with severe Broca's aphasia. In this study, thirty novel phrases were taught in three conditions: unrehearsed, rehearsed verbal production (repetition), or rehearsed verbal production with melody (MIT). Results showed that phrases taught in the MIT condition had superior production, and that compared to rehearsal, effects of MIT lasted longer.
Another study examined the incorporation of music with therapeutic upper extremity exercises on pain perception in stroke victims. Over the course of eight weeks, stroke victims participated in upper extremity exercises (of the hand, wrist, and shoulder joints) in conjunction with one of the three conditions: song, karaoke accompaniment, and no music. Patients participated in each condition once, according to a randomized order, and rated their perceived pain immediately after the session. Results showed that although there was no significant difference in pain rating across the conditions, video observations revealed more positive affect and verbal responses while performing upper extremity exercises with both music and karaoke accompaniment. Nayak et al. examined the combination of music therapy with traditional stroke rehabilitation and also found that the addition of music therapy improved mood and social interaction. Participants who had suffered traumatic brain injury or stroke were placed in one of two conditions: standard rehabilitation or standard rehabilitation along with music therapy. Participants received three treatments per week for up to ten treatments. Therapists found that participants who received music therapy in conjunction with traditional methods had improved social interaction and mood.
In heart disease 
According to a 2009 Cochrane review of 23 clinical trials, it was found that some music may reduce heart rate, respiratory rate, and blood pressure in patients with coronary heart disease. Benefits included a decrease in blood pressure, heart rate, and levels of anxiety in heart patients. However, the effect was not consistent across studies, according to Joke Bradt, PhD, and Cheryl Dileo, PhD, both of Temple University in Philadelphia. Music did not appear to have much effect on patients' psychological distress. "The quality of the evidence is not strong and the clinical significance unclear", the reviewers cautioned. In 11 studies patients were having cardiac surgery and procedures, in nine they were MI patients, and in three cardiac rehabilitation patients. The 1,461 participants were largely white (average 85%) and male (67%). In most studies, patients listened to one 30-minute music session. Only two used a trained music therapist instead of prerecorded music.
Treatment of neurological disorders 
The use of music therapy (MT) in treating mental and neurological disorders is on the rise. MT has showed effectiveness in treating symptoms of many disorders, including schizophrenia, amnesia, dementia and Alzheimer’s, Parkinson's disease, mood disorders such as depression, aphasia and similar speech disorders, and Tourette’s syndrome, among others.
While MT has been used for many years, up until the mid-1980s little empirical research had been done to support the efficacy of the treatment. Since then, more research has focused on determining both the effectiveness and the underlying physiological mechanisms leading to symptom improvement. For example, one meta-study covering 177 patients (over 9 studies) showed a significant effect on many negative symptoms of psychopathologies, particularly in developmental and behavioral disorders. MT was especially effective in improving focus and attention, and in decreasing negative symptoms like anxiety and isolation.
The following sections will discuss the uses and effectiveness of MT in the treatment of specific pathologies.
Music Therapy is used with schizophrenic patients to ameliorate many of the symptoms of the disorder. Individual studies of patients undergoing Music Therapy showed diminished negative symptoms—such as flattened affect, speech issues, and anhedonia – and improved social symptoms, such as increased conversation ability, reduced social isolation, and increased interest in external events.
Meta-studies have confirmed many of these results, showing that Music Therapy in addition to standard care to be superior to standard care alone. Improvements were seen in negative symptoms, general mental state, depression, anxiety, and even cognitive functioning. These meta-studies have also shown, however, that these results can be inconsistent and depend heavily on both the quality and number of therapy sessions.
Alzheimer’s and dementia 
Alzheimer’s and dementia are two of the diseases most commonly treated with MT. Like many of the other disorders mentioned, some of the most common significant effects are seen in social behaviors, leading to improvements in interaction, conversation, and other such skills. A meta-study of over 330 subjects showed music therapy produces highly significant improvements to social behaviors, overt behaviors like wandering and restlessness, reductions in agitated behaviors, and improvements to cognitive defects, measured with reality orientation and face recognition tests. As with many studies of MT’s effectiveness, these positive effects on Alzheimer’s and dementia are not homogeneous among all studies. The effectiveness of the treatment seems to be strongly dependent on the patient, the quality and length of treatment, and other similar factors.
Another meta-study examined the proposed neurological mechanisms behind MT’s effects on these patients. Many authors suspected that music has a soothing effect on the patient by affecting how noise is perceived: music renders noise familiar, or buffers the patient from overwhelming or extraneous noise in their environment. Others suggest that music serves as a sort of mediator for social interactions, providing a vessel through which to interact with others without requiring much cognitive load.
Some symptoms of amnesia have been shown to be alleviated through various interactions with music, including playing and listening. One such case is that of Clive Wearing, whose severe retrograde and anterograde amnesia have been detailed in the documentaries Prisoner of Consciousness and The Man with the 7 Second Memory. Though unable to recall past memories or form new ones, Wearing is still able to play, conduct, and sing along with music learned prior to the onset of his amnesia, and even add improvisations and flourishes.
Wearing’s case reinforces the theory that episodic memory fundamentally differs from procedural or semantic memory. Sacks suggests that while Wearing is completely unable to recall events or episodes, musical performance (and the muscle memory involved) are a form of procedural memory that is not typically hindered in amnesia cases [Sacks]. Indeed, there is evidence that while episodic memory is reliant on the hippocampal formation, amnesiacs with damage to this area can show a loss of episodic memory accompanied by (partially) intact semantic memory.
Music therapy has been found to have numerous significant outcomes for patients with major depressive disorder. One study found that listening to soft, sedative music for only 30 minutes a day for two weeks led to significantly improved global depressive scores, and improved scores on individual depressive sub-scales. Like many of the other studies mentioned, the effects were seen to be cumulative over the time period studied – that is, longer treatment led to increased improvement [Hsu]. Another study showed that MDD patients were able to better express their emotional states while listening to sad music than while listening to no music or happy, angry, or scary music. The authors found that this therapy helped patients to overcome verbal barriers in expressing emotion, which can assist therapists in successfully guiding treatment.
Other studies have provided insight into the physiological interactions between MT and depression. Music has been showed to significantly decrease the levels of the stress hormone cortisol, leading to improved affect, mood, and cognitive functioning. A study also found that music led to a shift in frontal lobe activity (as measured by EEG) in depressed adolescents. Music was shown to shift activity from the right frontal lobe to the left, a phenomenon associated with positive affect and mood.
Melodic intonation therapy (MIT) is a commonly used method of treating aphasias, particularly those involving speech deficits (as opposed to reading or writing). MIT is a multi-stage treatment that involves committing words and speech rhythm to memory by incorporating them into song. The musical and rhythmic aspects are then separated from the speech and phased out, until the patient can speak normally. This method has slight variations between adult patients and child patients, but both follow the same basic structure.
While MIT is a commonly used therapy, research supporting its effectiveness is relatively lacking. Some recent research suggests that the therapy’s efficacy may stem more from the rhythmic components of the treatment rather than the melodic aspects.
In epilepsy 
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Research suggests that listening to Mozart's piano sonata K448 can reduce the number of seizures in people with epilepsy. This has been called the "Mozart effect." However, in recent times, the validity of the "Mozart Effect" and the studies upon which the theory is based have been questioned, due to reasons such as the limitations in the original study and the failure to replicate the effects of Mozart's music in subsequent studies.
Experimental-music-centered therapy 
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Music therapist and researcher Enrico Curreri clinically explored theories and concepts developed by the American composer John Cage. For example, in various music therapy sessions with a patient diagnosed with depression and anxiety disorder, Curreri performed Cage's seminal composition of silence 4′33″ and utilized aleatoric/chance procedures, as well as investigated experimental and microtonal music.
Usage by country 
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In Australia in 1949, music therapy (not clinical music therapy as understood today) was started through concerts organized by the Australian Red Cross along with a Red Cross Music Therapy Committee Key Australian body, AMTA, [http://www.austmta.org.au/about/our-history/ Australian Music Therapy Association, founded on 1975.
United States 
Music therapy has existed in its common current form in the United States since around 1944, when the first undergraduate degree program in the world was founded at Michigan State University and the first graduate degree program at the University of Kansas. The American Music Therapy Association (AMTA) was founded in 1998 as a merger between the National Association for Music Therapy (NAMT, founded in 1950) and the American Association for Music Therapy (AAMT, founded in 1971). Numerous other national organizations exist, such as the Institute for Music and Neurologic Function, Nordoff-Robbins Center For Music Therapy, and the Association for Music and Imagery. A music therapist may use ideas or concepts from different disciplines such as speech/language, physical therapy, medicine, nursing, education, etc.
A music therapy degree candidate can earn an undergraduate, masters or doctoral degree in music therapy. Many AMTA approved programs offer equivalency and certificate degrees in music therapy for students that have completed a degree in a related field. Some practicing music therapists have held PhDs in non-music-therapy (but related) areas, but more recently Philadelphia's Temple University has founded a PhD program specifically in music therapy. A music therapist will typically practice in a manner that incorporates music therapy techniques with broader clinical practices such as psychotherapy, rehabilitation, and other practices depending on client needs. Music therapy services rendered within the context of a social service, educational, or health care agency can be reimbursable by insurance and sources of funding for individuals with certain needs. Music therapy services have been identified as reimbursable under Medicaid, Medicare, private insurance plans and other services such as state departments and government programs.
A degree in music therapy requires proficiency in guitar, piano, voice, music theory, music history, reading music, improvisation, as well as varying levels of skill in assessment, documentation, and other counseling and health care skills depending on the focus of the particular university's program. To become board certified, a music therapist must complete a music therapy degree from an accredited AMTA program at a college or university, successfully complete a music therapy internship, and pass the Board Certification Examination in Music Therapy. The credential, Music Therapist-Board Certified (MT-BC) is granted by The Certification Board for Music Therapists (CBMT), upon successful passage of the Board Certification Examination. A music therapist may also hold the designations CMT (Certified Music Therapist), ACMT (Advanced Certified Music Therapist), or RMT (Registered Music Therapist)—initials which were previously conferred by the now-defunct AAMT and NAMT, and which will remain legitimate until 2020. To maintain the credential, either 100 units of continuing education must be completed every five years, or the board exam must be retaken near the end of the five-year cycle. The units claimed for credit fall under the purview of The Certification Board for Music Therapists to assure continued competence in music therapy. Many states recognize the professional status of Music Therapists. As of June, 2011, the State of Nevada recognized and has provided legislation adding Music Therapy as an obtainable license in the state which can now be obtained through the state board of health.
United Kingdom 
Live music was used in hospitals after both of the World Wars, as part of the regime for some recovering soldiers. Clinical music therapy in Britain as it is understood today was pioneered in the 60s and 70s by French cellist Juliette Alvin, whose influence on the current generation of British music therapy lecturers remains strong. Mary Priestley, one of Juliette Alvin's students, came to discover/create "analytical music therapy". The Nordoff-Robbins approach to music therapy developed from the work of Paul Nordoff and Clive Robbins in the 1950/60s.
Practitioners are registered with the Health Professions Council and from 2007 new registrants must normally hold a master's degree in music therapy. There are masters level programs in music therapy in Bristol, Cambridge, Cardiff, Edinburgh and London, and there are therapists throughout the UK. The professional body in the UK is the British Association for Music Therapy In 2002, the World Congress of Music Therapy, coordinated and promoted by the World Federation of Music Therapy, was held in Oxford on the theme of Dialogue and Debate. In November 2006, Dr. Michael J. Crawford and his colleagues again found that music therapy helped the outcomes of schizophrenic patients.
Research has shown that in many parts of Africa during male and female circumcision, bone setting, or traditional surgery and bloodletting, lyrical music related to endurance has been used to reduce anticipated pain, therapeutically. In 1999, the first program for music therapy in Africa opened in Pretoria, South Africa. Research has shown that in Tanzania patients can receive palliative care for life-threatening illnesses directly after the diagnosis of these illnesses. This is different from many Western countries, because they reserve palliative care for patients who have an incurable illness. Music is also viewed differently between Africa and Western countries. In Western countries and a majority of other countries throughout the world, music is traditionally seen and used for entertainment purposes. Whereas in many African cultures, music is used in recounting stories, celebrating life events, or sending messages.
In a study done in 2003, 20 Scottish patients and 24 Kenyan patients, all having advanced cancers, were asked questions of their experiences, needs and available services. It was found that the Scottish patients and their caregivers thought the emotional pain of facing death was the prime concern. Whereas, in the Kenyan patients and their caregivers, they were most worried about physical pain and financial problems.
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Ethnomusicology is the study of music in its cultural context, or the anthropology of music.
See also 
- "". American Music Therapy Association, 2013. Web.
- "About Music Therapy & AMTA". American Music Therapy Association, 2011. Web. 9 November 2011.
- Misic, P., D. Arandjelovic, S. Stanojkovic, S. Vladejic, and J. Mladenovic. "Music Therapy." European Psychiatry 1.25 (Jan. 2010): 839. Academic Search Premier. Web. 9 November 2011.
- Howells, John G.; Osborn, M. Livia (1984). A reference companion to the history of abnormal psychology. Greenwood Press. ISBN 9780313242618. Retrieved 21 April 2013.
- Antrim, Doron K. "Music Therapy." The Musical Quarterly 30.4 (Aug. 2006): 409. JSTOR. Web. 9 November 2011.
- Antrim, Doron K. "Music Therapy." The Musical Quarterly 30.4 (Aug. 2006): 410. JSTOR. Web. 9 November 2011.
- Amber Haque (2004), "Psychology from Islamic Perspective: Contributions of Early Muslim Scholars and Challenges to Contemporary Muslim Psychologists", Journal of Religion and Health 43 (4): 357-377 .
- cf. The Anatomy of Melancholy, Robert Burton, subsection 3, on and after line 3480, "Music a Remedy": "But to leave all declamatory speeches in praise of divine music, I will confine myself to my proper subject: besides that excellent power it hath to expel many other diseases, it is a sovereign remedy against  despair and melancholy, and will drive away the devil himself. Canus, a Rhodian fiddler, in  Philostratus, when Apollonius was inquisitive to know what he could do with his pipe, told him, 'That he would make a melancholy man merry, and him that was merry much merrier than before, a lover more enamoured, a religious man more devout.' Ismenias the Theban,  Chiron the centaur, is said to have cured this and many other diseases by music alone: as now they do those, saith  Bodine, that are troubled with St. Vitus's Bedlam dance."
- "Humanities are the Hormones: A Tarantella Comes to Newfoundland. What should we do about it?" by Dr. John Crellin, MUNMED, newsletter of the Faculty of Medicine, Memorial University of Newfoundland, 1996.
- Aung, Steven K.H., Lee, Mathew H.M., "Music, Sounds, Medicine, and Meditation: An Integrative Approach to the Healing Arts", Alternative & Complementary Therapies, Oct 2004, Vol. 10, No. 5: 266-270. 
- Degmečić, Dunja, Ivan Požgain, and Pavo Filaković. "Music as Therapy." International Review of the Aesthetics and Sociology of Music 36.2 (Dec. 2005): 290. JSTOR. Web. 9 November 2011.
- Davis, Gfeller, Thaut (2008). An Introduction to Music Therapy Theory and Practice-Third Edition: The Music Therapy Treatment Process. Silver Spring, Maryland. pg. 460-468
- Deka, Dr. Ankur. "Inner Power Of Music And Music Therapy". Efi-news.com. Retrieved 23 April 2012.
- Davis, Gfeller, Thaut (2008). An Introduction to Music Therapy Theory and Practice-Third Edition: The Music Therapy Treatment Process. Silver Spring, Maryland. pg. 469-473.
- Davis, Gfeller, Thaut (2008). An Introduction to Music Therapy Theory and Practice-Third Edition: The Music Therapy Treatment Process. Silver Spring, Maryland. pg. 475.
- Davis, Gfeller, Thaut, (2008). An Introduction to Music Therapy Theory and Practice-Third Edition: The Music Therapy Treatment Process. Silver Spring, Maryland. pg. 475.
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- Bunt, Leslie, and Sarah Hoskyns. Music Therapy: Seating the Scene (Hove and New York: Brunner-Routledge, 2002):[page needed].
- Nordoff, Paul, and Glive Robbins. Music Therapy in Special Education: Group Instrumental Activities for Physically Disabled Children (New York: The John Day Company, 1971):[page needed].
- Bunt, Leslie, and Sarah Hoskyns, Music Therapy: Practicalities and Basic Principles of Music Therapy (Hove and New York: Brunner-Routledge, 2002):[page needed].
- Nordoff, Paul, and Glive Robbins, Music Therapy in Special Education: Group Instrumental Activities for Physically Disabled Children (New York: The John Day Company, 1971):[page needed].
- This is Your Brain on Music: The Science of a Human Obsession, Daniel J. Levitin. New York: Dutton, 2006..
- Campbell, P.S., Connell, C., Beegle, A. (2007). Adolescents’ expressed meanings of music in and out of school. Journal of Research in Music Education, 55(3), 220-236.
- American Music Therapy Association, 2000, p.26
- Gold, C., Wigram, T.,Voracek, M. (2007). Predictors of change in music therapy with children and adolescents: the role of therapeutic techniques. Psychology and Psychotherapy: Theory, Research and Practice, 80, 57-589.
- Choi, A., Lee, M.S., Lim, H. (2008). Effects of group music intervention on depression, anxiety, and relationships in psychiatric patients: a pilot study. Journal of Alternative and Complimentary Medicine, 14(5), 567-570.
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- Wheeler, B.L. et. al. (2003). Effects of Number of Sessions and Group or Individual Music Therapy on the Mood and Behavior of People Who Have Had Strokes or Traumatic Brain Injuries. Nordic Journal of Music Therapy. 12(2) 139-151.
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- Wilson, S.; Parsons, K.; & Reutens, D. (2006). Preserved Singing in Aphasia: A Case Study of the Efficacy of melodic intonation therapy. Music Perception. 42(1) 23-36.
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- Sherratt, K.; A. Thornton, C. Hatton (January 2004). "Music interventions for people with dementia: a review of the literature". Aging & Mental Health 8 (1): 3–12.
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Further reading 
- Aldridge, David, Music Therapy in Dementia Care, London: Jessica Kingsley Publishers, November 2000. ISBN 1-85302-776-6
- Boso M, Politi P, Barale F, Enzo E (2006). "Neurophysiology and neurobiology of the musical experience". Funct Neurol 21 (4): 187–91. PMID 17367577.
- Boynton, Dori, compiler (1991). Lady Boynton's "New Age" Dossiers: a Serendipitous Digest of News and Articles on Trends in Modern Day Mysticism and Decadence. New Port Richey, Flor.: Lady D. Boynton. 2 vol. N.B.: Anthology of reprinted articles, pamphlets, etc. on New Age aspects of speculation in psychology, philosophy, music (especially music therapy), religion, sexuality, etc. Without ISBN
- Erlmann, Veit (ed.) Hearing Cultures. Essays on Sound, Listening, and Modernity, New York: Berg Publishers, 2004. Cf. especially Chapter 5, "Raising Spirits and Restoring Souls".
- Gold, C., Heldal, T.O., Dahle, T., Wigram, T. (2006) "Music therapy for schizophrenia or schizophrenia-like illnesses", Cochrane Database of Systematic Reviews, Issue 4.
- Goodman, K.D. (2011). Music Therapy Education and Training: From Theory to Practice. Springfield, Illinois: Charles C. Thomas. ISBN 0-398-08609-5.
- Hart, Hugh. (March 23, 2008) New York Times A Season of Song, Dance and Autism. Section: AR; Page 20.
- Leow, Qi He Mabel, Drury, V., Poon, Wing Hong Edward. (2009). The experience and expectations of terminally ill patients receiving music therapy in the palliative setting: a systematic review. Published by Joanna Briggs Institute: http://www.joannabriggs.edu.au/protocols/Protocol331.pdf
- Leow, Qi He Mabel, Drury, V., Poon, Wing Hong Edward. (2010). Experience of terminally ill patients with music therapy: A literature review. Singapore Nursing Journal, 37(3), 48-52.
- Leow, Qi He Mabel, Drury, V., Poon, Wing Hong Edward. (2010) Patient’s experiences of music therapy in a Singaporean hospice. International Journal of Palliative Nursing. 16(7), 344-350
- La Musicothérapie: thémathèque. Montréal, Bibliothèque du personnel, Hôpital Rivière-des-Prairies, 1978.
- Tuet, R.W.K.; Lam, L.C.W. (September 2006) "A preliminary study of the effects of music therapy on agitation in Chinese patients with dementia", Hong Kong Journal of Psychiatry, Volume 16, Number 3
- Whipple, Jennifer (July 2004). "Music in Intervention for Children and Adolescents with Autism: a Meta-Analysis". Journal of Music Therapy 41 (2): 90–106. PMID 15307805.
- Wigram, Tony. (July 2000) A Method of Music Therapy Assessment for the Diagnosis of Autism and Communication Disorders in Children., Music Therapy Perspectives, Volume 18, Issue 1, pp. 13–22.
- Bruscia, Kenneth E. "Frequently Asked Questions About Music Therapy". Boyer College of Music and Dance, Music Therapy Program, Temple University, 1993. July 6, 2009.
- Marcello Sorce Keller, "Some Ethnomusicological Considerations about Magic and the Therapeutic Uses of Music", International Journal of Music Education, 8/2(1986), 13–16.
- Vladimir Simosko. Is Rock Music Harmful? Winnipeg, Man., The Author, 1987.
- Vladimir Simosko. Jung, Music, and Music Therapy: Prepared on the Occasion of the "C.G. Jung and the Humanities" Colloquium, 1987. Winnipeg, Man., The Author, 1987.
- Elizabeth Vomberg. Music for the Physically Disabled Child: a Bibliography. Toronto, Ont., The Author, 1978.
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