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The Rational-Scientific Mediating Model (R-SMM)

The Rational-Scientific Mediating Model (R-SMM). Provides a link between basic and applied research Provides a scientific foundation for clinical interventions. Reasons for the Model. To understand the connection between: Musical Behavior Non-Musical Behavior

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The Rational-Scientific Mediating Model (R-SMM)

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  1. The Rational-Scientific Mediating Model (R-SMM) • Provides a link between basic and applied research • Provides a scientific foundation for clinical interventions

  2. Reasons for the Model • To understand the connection between: • Musical Behavior • Non-Musical Behavior • Therapeutic Applications of Music

  3. Level One: Musical Response Models • Neurological, Physiological, and Psychological Foundations of Musical Behavior • Explains how people perceive, produce or respond to music • Basic Research

  4. Level Two: Non-Musical Parallel Models • Processes in Non-Musical Brain and Behavior Function • Identifies parallel processes between musical and non-musical models of perception and behavior • Basic Research

  5. Level Three: Mediating Models • Influence of Music on Non-Musical Brain and Behavior Function • Explains how music mediates to elicit the non-musical behavior • Basic Research

  6. Level Four: Clinical Research Models • Therapeutic Effects of Music • Tests a therapeutic strategy based on prior scientific evidence • Emphasizes lasting functional behavior change and carry-over after treatment • Applied Research

  7. Application of the Model • Potential Research Question: • What is the effect of a therapeutic singing program on the speech intelligibility of children with Down Syndrome?

  8. Level One Research • Musical Response Model • How do children learn to sing? • Basic Research

  9. Level Two Research • Non-Musical Parallel Model • How do children learn to speak? • Basic Research

  10. Level Three Research • Mediating Model • Does singing influence speaking in young children? • Basic Research

  11. Level Four Research • Clinical Model • What is the effect of a therapeutic singing program on the speech intelligibility of children with Down Syndrome? • Applied Research

  12. The Transformational Design Model (TDM) • Translates information from the R-SMM into functional therapeutic music experiences. • Also developed to help clinicians (and students) avoid, perhaps two potential pitfalls:

  13. Potential Weaknesses • An activity-based approach • The application of therapeutic music experiences that address goal areas and functional outcomes indirectly or on a very broad basis.

  14. Five Steps of the TDMStep 1 • Steps 1,2,3, & 5 are common to all disciplines. • 1.Diagnostic and functional assessment of patient • Provides the diagnostic profile for a patient as well as subsequent deficits in functioning.

  15. Step 2 • Development of therapeutic goals and objectives • Goals and objectives are synthesized directly from patient’s areas of deficit or difficulty. • Objectives are measurable so that attainment can be tracked over the course of treatment.

  16. Step 3 • Design of functionalnon-musical therapeutic exercises and stimuli. • Appropriate for exercises to be similar to or based on standardized techniques utilized in other disciplines.

  17. Step 3 cont’d • Thaut asserts that: • “This approach also ensures patient-centered rather than discipline-centered therapy programs”. • Avoids PT goals, OT goals, ST goals, MT goals. Maintains focus on the patient’s goals.

  18. Step 4 • Enter - Music Therapist • Translation of Step 3 into functional therapeutic music experiences. • Isomorphic translation of therapeutic nonmusical exercises and stimuli into functional therapeutic music experiences.

  19. Three Determinant Principles of Step 4 • Validity of the translation of functional behavior into music therapy techniques. • Translation process must be checked against knowledge obtained through the R-SMM, especially level 4. • If translation occurs without considering the basic and clinical research regarding music perception and nonmusical parallels, it is unlikely that subsequent interventions will be functionally effective.

  20. Three Determinant Principles of Step 4 • The musical stimuli used in a therapeutic experience should conform to principles of “good” musical forms. • The perceptual influence of music is determined to a great extent by its conformity to optimal musical structure and patterns.

  21. Three Determinant Principles of Step 4 • The functional logic of the transformation process. • TME’s need to be similar in structure and application to nonmusical therapeutic experiences. • MT needs to create good musical analogues for nonmusical behavior and stimuli.

  22. Step 5 • Transfer of therapeutic learning to real world applications.

  23. Application of the TDMStep 1 • Diagnostic and functional assessment of children with Down Syndrome • Epicanthal folds of skin on the inner corners of the eyes and upwards slant of the eyes. • Fissured and thick tongues. • Hypotonic musculature Oral-facial? • Hyperflexibility - unusual flexibility of the joints • IQ ranges typically from moderate to profound retardation • Language and speech are delayed and relatively weak - receptive typically stronger than expressive.

  24. Application of the TDMStep 1 cont’d • Factors that can contribute to low speech intelligibility • Difficulty with the strength, timing and coordination of muscle movements for speech. • Articulation problems with specific sounds, low oral-facial muscle tone, difficulty with sensory integration and oral tactile feedback, use of phonological processes (e.g. leaving off final sounds in words) and difficulties in motor planning for speech

  25. Application of the TDMStep 2 • Design of functional therapeutic goals and objectives • Objective for Speech - • Pt. DS will increase clarity of speech as rated by two independent raters to 80% intelligibility by …

  26. Application of the TDMStep 3 • Design of functional non-musical therapeutic exercises or interventions • Speech Stimulation • Speech Cuing

  27. Application of the TDMStep 4 • The translation of Step 3 into functional therapeutic music experiences • Musical Speech Stimulation (MSS) • Rhythmic Speech Cuing

  28. Application of the TDMStep 5 • Transfer of therapeutic “learning” to real world situations

  29. Short Break

  30. The R-SMM and Affective ProcessingLevel One • Berlyne • Gestalt theorist and aesthetic biologist • Humans have a biological need to pursue pleasant levels of arousal through the perception of “good Gestalts” or patterns • At any given moment, a person possesses a particular level of arousal and therefore particular arousal needs. • Extreme levels of arousal are uncomfortable. • A moderate change in direction toward homeostasis is often experienced as quite pleasurable.

  31. The R-SMM and Affective ProcessingLevel One • Berlyne • Hedonic value refers to the intrinsic reward, motivation, and positive feedback one experiences when perceiving a given stimulus. • The stronger the hedonic value/reward experience of a stimulus, the more motivated the human organism is to pursue it, and the greater influence it has over that human’s behavior. • Music is a sensory-related stimulus generally highly arranged in structures, patterns, or Gestalts

  32. The R-SMM and Affective ProcessingLevel One • Meyer - Expectation Theory • Contends that emotion rises from the perception of musical structures/patterns • Affect is aroused when an expectation, activated by the music stimulus is temporarily inhibited or blocked. • Argues that it is the interruption of expectation followed by a period of suspension and finally resolution that facilitates arousal and evokes an affective response in the listener. • Based on Dewey’s Conflict Theory of Emotions

  33. The R-SMM and Affective ProcessingLevel One • Expectation Theory in Outline Form • Expectation set up through repetition and learning • Inhibition of expectation through novelty • Suspension of inhibition • Resolution

  34. The R-SMM and Affective ProcessingLevel One • Meyer cont’d • Requires that the listener be familiar with or understands the “rules” of the musical patterns so that expectations can be created. • Meaning - anything acquires meaning if it is connected to or indicates something beyond itself, so that its full nature is revealed in that connection. • One musical event has meaning when it points to , and makes us expect, a subsequent musical event.

  35. The R-SMM and Affective ProcessingLevel One • Kraut • Like Meyer believes that someone “understands” music when they have a correct qualitative response to it. • Musical understanding is best thought of as a set of experiences that are connected with the music, e.g. experiences of stability and tension, of metrical groupings, tonal centers, variations on harmonic, rhythmic, or melodic structure and similar musical events.

  36. The R-SMM and Affective ProcessingLevel One • Raffman • An experienced listener can no more fail to understand his native music than his native tongue. • Perception of musical grammar is unconscious, but the results of those perceptions are experienced consciously. • Because you feel a sequence moving from instability to stability it is analyzed as a cadence. • Because you feel a chord to be the most stable chord in a key, it is analyzed as tonic.

  37. The R-SMM and Affective ProcessingLevel One • Jackendoff • Also like Meyer, believes that expectations fulfilled bring satisfaction and positive affect while unfulfilled expectations in music bring disappointment and negative affect (in general).

  38. The R-SMM and Affective ProcessingLevel One • Peretz • Research points to activation of the amygdala, changes in musculo-facial expression, frontal lobe activity, limbic system, and Galvonic Skin Response (GSR) under a variety of listening conditions. • Current work involves amusics, in order to establish complex neuro-systems involved with affective processing of music.

  39. The R-SMM and Affective ProcessingLevel Two • LeDoux • Conditioned rats to associate hand clapping with water. • Conditioned response was equally as strong for cortically intact rats as those who had their neocortex removed. • Auditory pathways into the limbic system allowed for the conditioning to take place. • LeDoux’s current work further substantiates the sensory perceptual/limbic system connectivity at a pre-cognitive or subconscious level.

  40. The R-SMM and Affective ProcessingLevel Two • Izard • Affect & Cognition are seen as two separate systems that consistently interact with each other. • Emotional feeling states (non-cognitive phenomenon), are the motivation for our actions and through development they become linked to images, symbols, and thoughts (cognitions). • Cognitive processes are used to control intensity and duration of innate expressions of genuine emotion. This process is culturally regulated.

  41. The R-SMM and Affective ProcessingLevel Two • Izard • Affective/Cognitive structures (the interaction of biological and sociocultural influences) become more and more predominant with age. • Most important thing to remember from Izard is that emotions generally occur pre and sub consciouisly and that they prime our nervous systems for action or behavior.

  42. Associative Network Theory Bower’s Associative Network Theory Emotions enter into memory units with coincident events. Memories, and thoughts in general, are most easily brought into awareness when someone is in a mood state congruent with the emotional quality of the cognition Influence of Music Music can influence cognition (memories, perception of self and others, self-talk, etc.) Because of its strong influence on affect and mood. Emotion Cognition • I’m O.K.! • I’ve had some fun times • I have some really good friends • I’m a failure • Life is hopeless • No one will ever love me.

  43. The R-SMM and Affective ProcessingLevel Two • Teasdale • Discusses the relationship between cognition and depressed mood states. • Indicates that findings from various studies indicate negative cognitions can initiate and maintain a state of depression. • Findings also suggest that mood affects the accessibility of positive and negative cognition. • There is a reciprocating relationship between depression and negative cognitions.

  44. The R-SMM and Affective ProcessingLevel Three • Clark • Compared 2 mood induction techniqes (Velten Card & Music) to see which technique induced a mood that was more representative of a naturally occurring mood. • Velten Card - 50%-75% actually felt the moods implied b the card statements and met the mood change criterion. • Music - 87% reported a change in mood and met the mood change criterion in the musical MIP. • MMIP showed stronger effects such as “loss of incentive, psychomotor retardation, etc.”

  45. The R-SMM and Affective ProcessingLevel Three • Sutherland • Hypothesized that unwanted/intrusive thoughts are difficult to remove during depressed mood states. First experiment verified this. • 2nd experiement - Subjects were musically induced into either a “happy” or “sad” mood. • MMIP were shown to induce moods effectively in both directions. • Negative thoughts are difficult to remove because the material necessary for forming a pleasant alternative thought is less accessible when depressed. • Music creates greater accessibility to positive cognitions due to its strong effect on mood.

  46. The R-SMM and Affective ProcessingLevel Three • Thaut & d el’Etoile • Compared the effects of music as a mood induction procedure to music as a background stimulus on recall. • Found that MMIP produced best recall performance when used prior to encoding in learning tasks. • Music was played as a background stimulus while subjects were asked to create a list of antonyms to a series of adjectives. • Music was used as a mood induction procedure - then subjects were asked to perform adjective/antonym task.

  47. The R-SMM and Affective ProcessingLevel Three • Thaut & d el’Etoile • Results indicated that subjects who were induced into a similar mood during encoding and retrieval yielded the highest performance results on the recall of antonyms. • Study supports the principle that music can promote retrieval processes in cognitive memory tasks. • Authors state that investigation is necessary to determine if “…therapeutic music experiences may be used systematically as a tool for affect modification to access positive memories about oneself and one’s life, and thus support cognitive interventions in the tx of depression.

  48. The R-SMM and Affective ProcessingLevel Four • Eiffert • Used music to modify mood in a classical conditioning methodology with phobics who were afraid of specific animals (Australian - lizards, etc.) • Used background music to see whether perceptions and associations could be shifted as mood is altered through exposure to music. • Phobic group that had music showed a significant decrease in negative attitudes toward the feared animal, a decreased heart rate, and a positive change in their ratings of the feared animals.

  49. The R-SMM and Affective ProcessingLevel Four • There are a great deal of Level IV studies. • Many are narrative in nature. • Strong foundation for use of music in affective disorders (could use much more neuro research at Level III) • Good, structurally sound Level IV research an area of need.

  50. Thank You ! • …just in case

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