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音乐、节奏与创伤:研究文献的批判性解释性综述

Music, Rhythm and Trauma: A Critical Interpretive Synthesis of Research Literature.

作者信息

McFerran Katrina Skewes, Lai Hsin I Cindy, Chang Wei-Han, Acquaro Daniela, Chin Tan Chyuan, Stokes Helen, Crooke Alexander Hew Dale

机构信息

Creative Arts and Music Therapy Research Unit, Faculty of Fine Arts and Music, The University of Melbourne, Melbourne, VIC, Australia.

Melbourne School of Graduate Education, The University of Melbourne, Melbourne, VIC, Australia.

出版信息

Front Psychol. 2020 Feb 27;11:324. doi: 10.3389/fpsyg.2020.00324. eCollection 2020.

Abstract

Recent theorizing about the connection between the brain and trauma (Perry, 2009; Porges, 2011; van der Kolk, 2015) has led to a burgeoning of interest in the provision of music-based programs with people who have had adverse experiences. Although there has been critique of the lack of scientific basis of these theories and their implications for practice (McLean, 2016), they remain popular with practitioners who are keen to introduce innovative and potentially beneficial approaches to the people with whom they work. Music therapists have a long tradition of working with traumatized clients, however, the brain-based rationales did not seem congruent with the less predictable and more idiosyncratic benefits reported, which seem to occur through more psychodynamic mechanisms of action. In order to unravel what seemed to be a body of literature plagued by the conflation of theories, we undertook a critical interpretive synthesis of literature in the past 10 years to cross-examine the ways that music and trauma have been connected. To do this we extracted data from 36 identified articles to distinguish what music methods were used, what claims were made about benefits, what theoretical justifications were provided and how much research basis there was for the claims being made. Having systematically disentangled the various dimensions, we then constructed a spectrum of approaches that offers a logical categorization of four different ways of using music with people who have had adverse life experiences. These included using music for stabilizing, entrainment, expressive and performative purposes. Specific music-based methods were proposed for those associated with brain-based rationales, and more responsive, multi-method approaches were congruent with recovery and social change models. Future research would benefit from a more clearly articulated connection between theoretical rationale, music-based methods, benefits and research approaches. The resultant spectrum may provide useful guidance for both practice and research design.

摘要

最近有关大脑与创伤之间联系的理论(佩里,2009年;波格斯,2011年;范德科尔克,2015年)引发了人们对为有过不良经历的人提供音乐疗法项目的浓厚兴趣。尽管有人批评这些理论缺乏科学依据及其对实践的影响(麦克林,2016年),但它们在从业者中仍然很受欢迎,这些从业者热衷于为他们所服务的人群引入创新且可能有益的方法。音乐治疗师长期以来一直与受创伤的客户合作,然而,基于大脑的理论依据似乎与所报告的较难预测且更具个体差异的益处不一致,这些益处似乎是通过更多的心理动力作用机制产生的。为了理清这一似乎因理论混淆而困扰的文献体系,我们对过去10年的文献进行了批判性解释性综合分析,以审视音乐与创伤相联系的方式。为此,我们从36篇已确定的文章中提取数据,以区分使用了哪些音乐方法、对益处有哪些宣称、提供了哪些理论依据以及这些宣称有多少研究基础。在系统地理清了各个维度之后,我们构建了一个方法谱系,它对与有过不良生活经历的人使用音乐的四种不同方式进行了逻辑分类。这些方式包括将音乐用于稳定情绪、同步、表达和表演目的。针对那些与基于大脑的理论依据相关的方式,我们提出了具体的基于音乐的方法,而更具适应性的多方法方式则与康复和社会变革模型相一致。未来的研究将受益于在理论依据、基于音乐的方法、益处和研究方法之间建立更清晰明确的联系。由此产生的谱系可能会为实践和研究设计提供有用的指导。

https://cdn.ncbi.nlm.nih.gov/pmc/blobs/9cd3/7059618/57a79c188e95/fpsyg-11-00324-g0001.jpg

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