Room 217 Foundation

It’s Not Just Playing Music: What Makes Music Care Intentional?

Fri, 17 Apr 2026 15:26:49 GMT

Music is everywhere. It plays in the background of waiting rooms, fills quiet spaces, and is often added to care environments with good intentions. But music care is not just about playing music. The difference is intention.

In music care, intention means using music with a clear purpose. It is not just about what is playing, but why it is being used, when it is introduced, and how it supports the moment. It is the difference between turning on any playlist and choosing the right piece of music for what is happening right now.

This shift may seem small, but it changes how music functions in care. When music is used intentionally, it moves from background to something that actively supports the care process. A familiar song used at the same time each day can help signal routine.

A slower tempo can support calm during moments of agitation. An upbeat rhythm can encourage movement and participation. In each case, the music is doing something. It is not just filling space. It is supporting care.

At its core, intentional music care can be understood in three connected ways:

Use: How music is used in the moment
Design: How music is structured and selected to support care
Performance: How music is expressed and adapted to suit different settings and care scenarios

Intentional use is what happens at the point of care. It is about choosing the right music for the moment and using it to support what is happening in real time.

But intention also exists in how music is designed. Some music used in care is created with purpose, with elements like tempo, repetition, and familiarity, chosen to support specific responses such as calming or engagement.

And intention can be shaped in the moment through how music is performed. The same song can be slowed down, softened, or made more rhythmic depending on what is needed. This allows caregivers and musicians to adjust and respond in real time.

We recently heard from a staff member at a MUSIC CARE CERTIFY organization who shared the story of a resident who became very anxious after dinner and would say, “I need to go home but I don’t know how to get there”. With the intentional use of music as part of the dinner routine, that moment began to shift. Music became a consistent part of the transition after dinner, offering something familiar and grounding.

Overtime, the change was noticeable. She became calmer, more engaged, and began participating in singing. Instead of distress, there was a sense of comfort and ease. When staff left, she would simply smile and say, “Ok, I will see you tomorrow”. This is just one of the many ways that music truly supports the experience of care.

Intentional music care does not require specialized equipment or complex plans. It can start with something much simpler: noticing. What is happening in this moment? What does this person need right now? How might music support that? From there, small choices can make a meaningful difference.

One of the most important aspects of music care is not just the music itself, but how it is chosen and used. When music is seen as an add-on, it remains optional and inconsistent. When it is understood as part of care, it becomes something we can use deliberately, thoughtfully, and consistently.

Music care is not just about doing more. It is about doing things differently. With intention, even simple uses of music can support connection, regulation, and everyday moments of care.

Music, Memory and What Still Remains

Thu, 02 Apr 2026 17:18:06 GMT

With the Juno Awards taking place this past weekend, there has been a renewed focus on the role music plays in Canadian culture. It brings people together and creates shared moments.

This same idea surfaced in a different context earlier last week.

During the recent Ontario Long Term Care Association conference, a keynote from Mike Downie, Telling Our Story: The Power of Narrative to Inspire and Connect, reflected on the legacy of his brother, Gord Downie, and the impact of The Tragically Hip. One of the main insights of this reflection was a simple idea: music connects people.

During the keynote, reflections shared from residents at Kensington Health offered a powerful reminder:

Music is a common ground for community gathering
It is not about what is lost, but what is still there
Music that has meaning can bring us back, even if only for a moment

Mike Downie also reflected on how the storyteller can become the story. This is a clear theme in the life of Gord Downie, who was known for storytelling through his lyrics and later became the story himself through his health journey. His later work, including Secret Path , also highlighted his advocacy for Indigenous communities and demonstrated how music can be used to share stories that might otherwise go unheard. In care environments, this idea shows up in different ways. Projects like The Green Bench create space for people to share their stories directly. Music can do something similar. It can bring forward identity, memory, and moments of self-expression, even when communication changes.

These reflections may feel familiar to those who work in care environments. It may look like a resident quietly joining in with a familiar song, or a shared moment where a room shifts as music begins. Connection through music may appear as:

A familiar song leading to singing or humming
A moment of recognition seen in a glance or a smile
A shift in the tone of the room when music is introduced

These moments of connection are often described as spontaneous. However, they are not accidental. Music, when used intentionally, can support connection in everyday care. This might look like:

Choosing music that is familiar and meaningful to the person
Using music to support transitions or care routines
Creating opportunities for shared listening or singing

The legacy of Gord Downie reminds us that music has always brought people together. In care environments, through the intentional use of music, that same connection continues.

Starting the Music Care Journey: Early Reflections from Training

Thu, 05 Mar 2026 17:15:02 GMT

As I begin my role with MUSIC CARE by Room 217 , I am also beginning my own learning journey in music care. My background is in healthcare education and program development, with previous roles at Carpenter Hospice and the Princess Margaret Cancer Centre. In those settings, I had the opportunity to see music therapists at work and witness the impact that music can have in care environments.

This week I began MUSIC CARE TRAINING Level 1 , the first level of standardized training offered through MUSIC CARE by Room 217. Even in the first part of the training, several ideas have already shifted how I think about music in care environments.

One insight that stood out immediately came from the first session led by Dr. SarahRose Black , a music therapist, psychotherapist, and educator. She noted that music care is not limited to a specific professional role. A nurse manager who advocates for music care within their organization is also practicing music care. Creating the conditions where music can be used thoughtfully in care environments is itself a form of care practice.

The same can be true for roles that people might not immediately associate with care practice. A receptionist who intentionally chooses calming music in a waiting area, or who notices how sound affects the mood of a space, can also influence the care environment in meaningful ways. In this sense, music care becomes less about a specific job title and more about an approach to how we shape the spaces where care happens.

Another concept introduced in the training comes from music scholar Christopher Small , who described music not simply as a thing we listen to but as something we do. Small used the term “musicking” to describe the many ways people engage with music. This includes singing, listening, sharing songs, or creating musical moments together. In care settings, musicking can support connection, expression, and well-being.

What struck me most, was a discussion about the soundscape of care environments.

In many healthcare and long-term care settings, residents and patients have limited control over the sounds around them. Hallways can be busy. Alarms sound frequently. Televisions are often left on. Conversations carry across shared spaces. People naturally entrain to the rhythms and energy of their surroundings. Entrainment simply means that our bodies and emotions tend to sync with the patterns around us. When the environment is hectic or noisy, people may begin to feel unsettled or stressed.

Dr. Black shared an example of an organization that, after completing the MUSIC CARE CERTIFY program, implemented an environmental sound policy to help regulate what influences the soundscape of their care environment.

As she noted, “music can be a positive form of entrainment.”

By intentionally shaping the sound environment, including the thoughtful use of music, care spaces can begin to shift from chaotic to supportive. In this context, music is not simply entertainment. It becomes part of how care environments are designed to support well-being.

Music care is less about adding something new and more about bringing intention to something deeply human. It asks us to pay attention to our relationship with music and how it shapes the spaces where care happens.

From Drumming Circles to Didgeridoo Dreams

Fri, 20 Feb 2026 16:25:57 GMT

Professionally, I have continued to develop my skills as a hand drum facilitator, moving beyond technique into a more intentional, care-focused approach. Incorporating Music Care strategies into drumming has transformed how sessions feel and function, allowing rhythm to become a tool for connection, engagement, and emotional expression.

One of the most impactful strategies I’ve used is picking songs for care contexts during drumming facilitation. Choosing familiar and meaningful music creates instant buy-in and excitement. Some of the most joyful moments have come from drumming along to ABBA and AC/DC, songs selected by both team members and residents. These shared musical choices encouraged participation, helped everyone catch the rhythm more easily, and created an atmosphere of laughter, movement, and shared energy. The familiarity of the music allowed participants to feel confident and included, regardless of their musical experience.

To support inclusive and adaptable sessions, I intentionally assembled a Music Care Kit tailored specifically for drumming facilitation. My kit includes a variety of drums, some smaller, some larger, and others with handles to support different hand grips. I also include drumsticks of varying weights to ensure adaptability for different strengths and abilities. A speaker is essential for song-based drumming, along with facilitator notes that help guide session flow. Additional instruments, such as chimes, allow me to introduce moments of calm during drum washes, while a jam drum block supports call-and-response interactions. Even my portable tote has become an essential part of the kit, allowing me to easily transport everything from one community to another. This flexibility ensures music care can meet people where they are.

Music Care has also become a vital part of my personal self-care. I intentionally use music while driving to work as a way to decompress from the previous day or to prepare myself emotionally for a compassionate and grounded workday. This simple practice has helped me manage stress and transition more mindfully between personal life and professional responsibilities.

Beyond daily routines, music now shapes how I experience the world. As part of my personal Music Care Plan, every vacation I take includes music as a way of learning about culture, history, and identity. In Norway, I attended a midnight concert in a local church in Tromsø and sang along with an Indigenous Sámi man who shared a song about his grandmother. In Poland, I experienced a Jewish Kazimierz performance featuring violin, singer, and accordion. In Ireland, I listened to harp and flute music at the base of the Rock of Cashel and played the drums at the Ireland Rock and Roll Museum. My travels also included attending Mozart, Strauss, and Beethoven concerts in Vienna, visiting Mozart’s birthplace in Salzburg, and participating in the Silent Night Chapel service on December 24. Each experience reinforced how music transcends language and creates a sense of belonging across cultures.

Looking ahead, my journey with music continues to evolve. During my hand drum facilitation course, I unexpectedly fell in love with the didgeridoo. The low tones and full-body vibration felt deeply soothing and grounding. Quietly, I’ve signed up to learn how to play. This instrument requires internal and circular breathing, something I find challenging due to ongoing lung issues, but I see this as an opportunity rather than a limitation. Learning the didgeridoo may support Motor and Respiratory Exercises (OMREX) ® , a core Neurologic Music Therapy technique that uses singing and wind instruments to build respiratory strength and control. Through diaphragmatic breathing, increased expiratory pressure, and improved breath control, this practice has the potential to benefit both my personal health and my future work in care settings.

Music Care has reshaped how I drum, how I travel, how I breathe, and how I care for others and for myself. What began as skill development has become a way of moving through the world with greater intention, curiosity, and connection.

Tuning In to the Sound Environment

Fri, 09 Jan 2026 16:08:48 GMT

A year goes by, time ticks on, we grow, we further our missions in life. This year was the year of music growth for me as a human. What does it mean to truly care for your fellow human and to use music as a catalyst to care for them? I garnered a lot of ways to do this in a year. What is the main thing I learned? Listening. What truly is the art of listening?

I focused heavily on my 10 domains of care. The one I honed in on the most was environmental sound. The environment impacts us all, it’s our scope. The little things count, a movement. It can be a rhapsody, it can be fingernails on a chalk board. I focused on rhapsody and said hello to chalk board screeches. How could I make sounds more pleasant? I adjusted volumes to devices, tones, pitches. I created musical soundscapes that fit the unique quality of the human condition within our realm. I listened with quenches or smiles, I aimed for relieved looks, looks that said, “this sounds right.” I chose sounds that spoke to the tribe. When I worked one on one, I spoke to the spirit of the one. I’m listening to Bob Seger writing this and his song, “Against the Wind.” That’s what I did this year; I ran against the wind. I tackled an inevitable, sounds. Sound should speak to us all, not turn off our volume.

I also learned how to help, not only myself cope with unpleasant sounds, but my folks I care for too. The answer? It lies in the acceptance. Call it out- admit it’s way of making you feel. Feel, hear, react, adapt. So, this year as I ran against the wind? The wind began to become a song instead of a gush. It now is more of an orchestra at our facility. Each little hiss, buzz, ring, ding, ting or veritable element of sound is something part of an accepted orchestra. Each or us tuned into our humanness here, in our domain.

I also launched our own record label. It’s called Gentog Records, named after our mission. Generations together. We launched our first single to major distributors, it is called, “New Beginnings.” It is music written and inspired by humans dealing with neurodegenerative disorders with me as their Sherpa. It represents a big no to what we call “disease”. It shows that humanity and dignity exist, despite it all; the human spirit is the definition. The label is two-fold. 1) To offer ownership and authorship as creators over their sounds and over their feelings and stories. 2) Generate income for the non-profit we have Gentog Community Services.

It’s been a year, one of triumph and failure. Still here we are, perhaps still running against the wind. But, bring on the wind! Embrace its orchestral movement. I know one thing for sure, I’m more in love with sound and humanity. And that, that sounds lovely.

Unexpected group music-making at the Beaches Santa Claus Parade

Wed, 10 Dec 2025 15:43:35 GMT

As a psychologist and a researcher, I spend my days exploring the incredible benefits arts engagement can bring to the health and well-being of individuals across the lifespan. A particular focus of my work is on music, be it group singing in choirs, intergenerational music therapy that connects young children from the community with residents of long-term care homes, virtual opportunities for families to sing together from a distance, or high-quality concerts provided by professional musicians. Given my background, you’re probably wondering how I ended up leading a holiday sing-along with Toronto Mayor Olivia Chow in November…

My current role is the perfect match for my longstanding interest in the arts. My love of music began at an early age. As I was the only niece living close by, I was my aunt’s regular “plus 1” for all sorts of musical performances coming through Montreal’s Place des Arts and Bell Centre. Growing up singing in choirs at church and in high school led to performances with the Hart House Singers when I moved to Toronto for graduate school. Over the last few years, my singing has been more commonly directed to an audience of two small children (and a cat), and I’ve harnessed my love of group singing into my research: I am currently involved with the SingWell project, an initiative out of Toronto Metropolitan University that examines physiological and quality of life benefits of group singing for a variety of populations, including individuals living with hearing loss, Parkinson’s disease, and dementia.

So imagine my surprise and delight when I recently had a powerful reminder of the personal joy of group singing. One chilly day in November, I had the opportunity to walk in my local Santa Claus parade with the Mayor of Toronto. As we neared the end of the parade route, there was a bend in the road where our group decided to set up and play some holiday tunes. Unfortunately, it seemed as though the sound system was out of order, and Mayor Chow turned to the group and asked “who likes to sing”? I sprang to respond, flung up my hand, and was immediately brought to the front of our crowd and found myself- unexpectedly and delightedly- leading an extremely enthusiastic and joyful choir on a street corner just blocks from my home! We sang for about 15 minutes, cycling through a repertoire of tried and true holiday favourites, sometimes stumbling over the words, sometimes getting an assist from people passing by! Folks who were completing their own parade journey, joined in, sang along, shouted encouragement, smiled and waving as they passed. While singing, my inner scientist couldn't help but wonder- were my cortisol levels decreasing? Maybe my oxytocin, the human bonding hormone, was shooting through the roof! This unique opportunity was the perfect representation of so much of the work I have been doing for many years. Seeing so many faces breaking into smile (and so many people breaking into song!) was a keen reminder of the power of music to connect us, and emphasized the important work that the room 217 team does every single day.

When a Room Becomes a Choir: Recording a Song Together at the Music Care Conference

Thu, 20 Nov 2025 19:13:52 GMT

There are conferences that inform, inspire, and educate, and then there are conferences that change how we imagine what care can feel like. The Music Care Conference: The Power of a Song in Dementia Care, held at Metalworks Institute in Mississauga, was one of those rare experiences. Positioned as a national gathering that brings together people engaged in music in care across clinical, community, and educational settings, the purpose of the day became clear right from the beginning. This was not a passive event; it was an active space for co-creation and genuine connection. From the moment participants arrived, the atmosphere felt more like the start of something being built together.

One of the most profound moments came during a workshop led by Bev Foster, where attendees from diverse backgrounds were to record a song together. There was no expectation of musical training or polished performance. The invitation was simply to contribute a voice and be part of the process. The piece we created was titled ‘Without a Song,’ written by Canadian singer songwriter Murray McLauchlan, and in that moment it became a shared expression of care and connection. What began as a room full of strangers gradually shifted into a connected musical space. People leaned in, listened closely, and began to sing together with growing confidence. It felt less like watching music happen and more like becoming part of something shared.

In that moment, the workshop no longer felt like a breakout session. It became a living example of care expressed through music. This experience carried particular meaning in the context of dementia care. When language shifts or memory becomes harder to access, music offers a different pathway to connection, one grounded in presence. Creating music together invites participation rather than observation and can restore a sense of agency for people whose autonomy is often limited by care environments. It also strengthens relationships between caregivers and the people they support. Music does not sit on the edges of care as an added activity. It can function as care itself.

The conference also highlighted that the role of music in dementia care is part of a broader shift in how the sector is evolving. With growing momentum around Bill 121, the Improving Dementia Care in Ontario Act, and increased attention from the Ministry of Long-Term Care, music is beginning to be recognized as a meaningful part of care. This commitment was reflected in a heartfelt address from Minister of Long-Term Care, Natalia Kusendova-Bashta, whose remarks affirmed the importance of dignity and compassion in dementia support. At one point she held her son at the podium and led the room in a playful rendition of ‘Baby Shark’, a moment that demonstrated how music creates connection across generations and circumstances. Policy can outline goals, but experiences like this help us imagine what care feels like when creativity and connection guide the approach. Throughout the day, research and lived practice came together through presentations from experts such as Dr. Lee Bartel, Dr. Alison Sekuler and Taylor Kurta, and through examples from organizations already integrating music-based programs in long-term care and community settings.

Although the collaborative songwriting session stood out, it was one part of a day filled with meaningful experiences. The Raising Voices Dementia Choir demonstrated how music can help people living with dementia stay connected to their identity and to the people who support them. Later, the closing performance by Jill Barber brought a different dimension to the day, weaving artistry, memory, and personal storytelling into a musical experience that resonated deeply with the audience. The day also highlighted new models of community engagement such as the ‘Memories to Music’ songwriting project between the Alzheimer Society of Peel and students from Mentor College. Led by music teacher Ian Hoare and music therapist Ruth Watkiss, this initiative brings young people and persons living with dementia together to create original music, demonstrating how intergenerational collaboration can strengthen understanding and relationships across care settings.

As I left the conference, I kept returning to the responsibility that comes with making music together in a care context. The song we created did not end when the session wrapped up; it became a reminder of what can happen when care is grounded in creativity and shared voice. If a group of people with no prior relationship can come together and create a shared musical experience in such a short time, then there is potential to bring this same approach into long-term care homes, community programs, hospitals, and family caregiving settings. These environments are already spaces of deep commitment and compassion, and with the right intention and support, music can help deepen relationships and strengthen the culture of care.

The power of music in care is not found in adding it as a program feature; it comes from recognizing it as a way of relating to people with dignity and presence. When music becomes a shared experience, people living with dementia are included and understood rather than defined by their diagnosis. This work continues through collaborations with partners such as Acclaim Health, the Alzheimer Society of Peel, ArtsCare Mississauga, and Metalworks Institute, who help create environments where music supports meaningful connection.

The music eventually came to an end, yet the song stayed with me as more than a moment from the day. It became a reminder of what can happen when care is grounded in creativity and shared voice. I left the conference with a clearer sense of how music can shape the way we support one another in real and meaningful ways. As we look ahead to the next Music Care Conference in Halifax in 2026, we carry this momentum forward, knowing that none of it happens ‘without a song’ to bring us together.

Music and Dementia #3 – Musical Strategies for Dementia Care

Fri, 07 Nov 2025 14:22:25 GMT

In the first two blogs of this series, we explored why music is such a powerful tool in dementia care—how it can connect with the “preserved self” and awaken memories and emotions that remain intact despite cognitive decline. Research consistently shows that music positively influences every dimension of human experience, from our physical responses to our emotional and social well-being. The question remains.

How do we use music everyday in dementia care?

Let’s consider some daily scenarios and match a musical strategy to use in care situations. These are not prescriptive, rather musical approaches that need to be used purposefully, being mindful of an individual’s response. As a carer, pay attention to the effect of the music. If you can see it is supporting an individual, continue. If not, stop and try something else.

Here are nine musical strategies to be used for a particular purpose. The key to music care is that you are being intentional about what you’re doing and mindful of the effects. The goal is to support an individual’s health and wellbeing.

Hum for Sleep

For many people, humming is less intimidating than singing. Humming facilitates self-soothing which becomes by extension soothing for those around us. In this way humming invites presence, attuning us to the moment, concentrating on the experience of sound and vibration, and its effects on the breath and body. Gently humming a favourite song, or two or three pitches, perhaps with stroking a hand or cheekbone area may be calming and relaxing and help someone become drowsy.

Play an Instrument When Someone Wanders

Wandering and getting lost suggest the person living with dementia is bored or they may be looking for someone or something. One way to address this distraction is to change the soundscape by playing an instrument, such as a shaker or a hand drum. The sound may shift their focus towards the sound source drawing them into listening and perhaps engaging them in playing an instrument. You can also extend this connection by playing along to some recorded music, together.

Play Calming Music at Mealtimes

Proactively using music 30 minutes prior to any activity that’s being supported will boost cognition and trigger the brain in advance of the activity. In the context of mealtime, using music will help prepare an individual to recognize their food, swallow, and perhaps, increase intake.

Use Singing Games to Improve Mood

A way to immediately shift the mood of an individual or invite engagement with a group who may be anxious because they don’t know each other well is to play a fun and simple game using a well-known song, like My Bonnie. Sing the song a few times with the individual or group and then add an extra challenge like clapping hands on every word that begins with “B”. This kind of simple singing game can come with loads of laughs and fun.

Use Designed Music for Sundowning

The tempo and energy of music can potentially agitate a person living with dementia. It also has the potential to calm. Room 217 has a library of designed music. For example, the four MUSIC COLLECTIONS are ideal for calming. Paced at 60 beats per minute to sync up with resting heart rate, this music, which is mostly familiar Western music, tends to have a calming, comforting effect. The PATHWAYS Singing Program, 30 minute episodes of familiar songs led by a singing host, is purposefully designed for engagement. Individuals are invited to sing. This engaging program has resulted in less falls, and a deeper sense of belonging. You can find these tools at the MUSIC CARE Store , or on the MUSIC CARE CONNECT streaming app available on Google Play or the Apple Store .

Dance for Exercise

Research tells us that music and dance together are the most brain nourishing activity. Not only can dance be a stimulating and enjoyable way to move the body, it can also help to release tension and release energy. Dancing together is a bonding experience that can bring a sense of community to a group.

Use One Song for Cuing and Recognition

A favourite music care strategy is called ‘One Song.’ Choose one song, or a phrase/chorus of a song for a particular activity and use that song – whether you sing it, whistle it or hum it each time that activity is to occur. Ideally, the one song has particular meaning to the individual living with dementia. For example,

Use a Personal Playlist for Personal Care

This time of the day can be particularly challenging. Using someone’s favorite music can lighten these care tasks. Sing along, “celebrate good time times, come on!” when wanting to transition an individual or group from lunch or a nap to an activity or a program.

Breathe Together for Deeper Connection

Being aware of your own breath can make a significant impact on our caring relationships. Humans entrain, or sync up, with each other’s breathing. This mutuality has implications for how individuals experience their care. So be aware and present to your own breath. Is it deep or shallow? What is the pace? Where does it land in your body? Are you breathing from your nose or mouth or both? Then become aware of the other person’s breathing. Pay attention to how they are breathing. Then consciously change your breath to match their breath.

You may use these strategies interchangeably. The more confident you can become with each strategy, the more they become part of your daily practice and valuable assets in your caregiving toolkit.

Music and Dementia #2 - Music, Memory & Meaning – Connecting with the Preserved Self

Wed, 22 Oct 2025 16:38:02 GMT

We know that as we age, our memory is one of the first things to shift. For someone living with dementia, this can be especially profound, short-term memory is often the first to fade, while the past can sometimes linger in unexpected and beautiful ways.

I saw this firsthand with two women I loved deeply: my grandma, Hilda, who lived with vascular dementia, and my mother-in-law, Elma, who lived with Alzheimer’s disease. In both of their journeys, one thing consistently bridged the growing gap between their world and ours: music.

Music wasn’t just background noise. It became the heartbeat of our visits. It was the thing that reached beyond confusion, beyond silence, and connected us to each other and to lifetimes of memories.

Dr. Oliver Sacks, the renowned neurologist, said that music is the most powerful care modality for people living with dementia because it can find the preserved self.

This couldn’t be more true. Music has a unique ability to nourish neural pathways and access multiple parts of the brain. This is one reason why music is powerful in dementia care, because music may not be completely lost. If one pathway is blocked, another might still be open.

Every visit with Hilda and Elma had its soundtrack. We played the songs they loved, the ones that carried meaning from their lives. Those familiar melodies weren’t just entertainment, they were a bridge. A bridge to stories, to laughter, to their preserved selves.

One of the most moving examples of music’s power comes from a widely shared video of Gladys Wilson and Dr. Naomi Feil , filmed by Memory Bridge. Gladys, who lives in a nursing home, did not know Naomi before their encounter. Yet through music, a remarkable connection unfolds.

As Naomi sings an old spiritual song, something changes in Gladys. First, her hand starts tapping to the rhythm. Then comes an intentional gesture, she reaches for Naomi. Her eyes open. She begins to hum, then to sing, then to speak.

This isn’t just a musical interaction; it’s a moment of awakening.

The connection is both intrapersonal (Gladys reconnecting with herself) and interpersonal (a bond forming between her and Naomi). Through gentle touch, eye contact, and allowing the moment to unfold slowly, trust blooms. And, perhaps most powerfully, Gladys’ sense of rhythm becomes the guide. Naomi follows her lead. The songs chosen are the ones that matter to Gladys.

In just five minutes, music brings Gladys back to herself. It doesn’t erase her dementia, but it reminds her, and those around her, of who she is.

Music has this extraordinary way of helping us trace our personal narratives. For those living with dementia, these narratives can become hard to access through words alone. But a familiar melody can open doors that seemed locked.

These musical moments aren’t just about singing songs, they are about connection. They are about love, identity, and belonging.

With Hilda and Elma, these moments gave us something precious: a way to meet them where they were, not where memory used to be.

Music may not cure dementia, but it can bring light into its shadows. It can awaken parts of a person that illness cannot fully erase.

If you’re caring for someone living with dementia, consider exploring their musical past. Play their favorite songs. Sing together. Let the rhythm guide the moment.

Because in those musical moments, something sacred happens: We don’t just remember the music, the music remembers us.

Music and Dementia #1 - 10 Reasons Why Music Works Wonders in Dementia Care

Thu, 09 Oct 2025 14:05:23 GMT

Music is more than just background noise — it’s the soundtrack to our lives.

It connects us to memories, people, and emotions. It lifts us up, calms us down, and brings us back to moments we thought we’d forgotten. That’s why, when it comes to dementia care, music isn't just helpful — it can be transformative.

Even as other parts of the brain struggle with language or short-term memory, music has this remarkable ability to break through. And research backs that up.

Here are 10 reasons why music is such a powerful tool for supporting individuals living with dementia.

1. Music Sparks Memory - You’ve probably seen it before — someone who struggles to remember names or faces suddenly lights up when they hear an old favorite tune. That’s because music is stored across many areas of the brain, not just one. So even when dementia causes some areas to decline, others may still recognize melody, lyrics, rhythm, and harmony. That multi-area storage makes music a resilient memory trigger.

2. The Brain Can Rewire Itself (Yes, Really) - Thanks to neuroplasticity, the brain can adapt and form new connections — even around damaged areas. For some people with dementia, this means that new songs or even new skills can still be learned. That’s hope in action.

3. Music Unlocks Emotional Memories - Certain songs instantly take us back — to a wedding, a childhood home, a loved one. For people with dementia, these emotional ties can unlock memories thought to be lost. Why? Because emotions are powerful memory anchors, and music naturally brings emotions to the surface.

4. Music Offers a Way to Communicate - Even when words fail, music speaks. Take the example of Gladys Wilson and Dr. Naomi Feil’s touching moment (watch it here ). Through music, Gladys — who no longer used words — found a way to connect, respond, and express herself. Her rhythmic tapping became a language of its own.

5. Personalized Playlists Make a Big Difference - Familiar music — especially songs someone loved earlier in life — can be incredibly powerful. Research shows that preferred music can reduce agitation, soothe anxiety, and even help preserve a sense of identity. So yes, playlists really do matter.

6. The Carryover Effect is Real - One of the most remarkable things about music in dementia care is its lasting impact. After engaging with music, a person might show improved mood or awareness not just for minutes — but for hours, even weeks. While it’s not guaranteed every time, this “carryover effect” shows how deeply music can reach.

7. Music Meets Social & Emotional Needs - Singing together, drumming, or just sharing a favorite song can create connection and improve quality of life. Music addresses core psychosocial needs — like inclusion, comfort, and belonging — that are so important for people living with dementia.

8. Family & Caregivers Can Join In - You don’t need to be a music therapist to make a difference. Simple activities like singing with a loved one, humming during care routines, or playing familiar tunes while helping someone get dressed can turn routine tasks into meaningful moments.

9. Music Supports Every Stage of Dementia - From early stages to end-of-life care, music continues to offer value. In the early days, it can jog memory. In the middle stages, singing can help with focus and cognition. And in late stages, music provides comfort, connection, and even dignity. It’s never too early or too late to start.

10. Music Pairs Beautifully With Other Therapies - Music doesn’t have to stand alone. It works wonderfully with art, dance, cooking, and storytelling — enhancing experiences and deepening engagement. Whether it’s part of a craft session or simple dance movement, music makes everything more joyful and meaningful.

If you’re caring for someone with dementia — as a family member, nurse, or caregiver — remember this: you already have one of the most powerful tools at your fingertips. A favorite song. A melody from the past. A gentle rhythm.

Music doesn’t just bring back memories. It brings back connection, expression, and sometimes, even joy.

So go ahead — press play.

Focusing the Lens on How We Connect through Song #3: A Trio of Reflections

Thu, 25 Sep 2025 14:51:44 GMT

And here we are together again, friends, for a third and closing reflection in this series of musical musings. You have graciously come alongside, and I am deeply grateful. Those who have explored sound and song with me in recent years know to expect that, before we turn our eyes to any musical scores, I will draw you into a small ritual of intentional breathing as we step into our shared time and space. As an advocate for music’s capacity to foster our wellness, I lean on the power of our breath to open a portal into that collective creativity. I hope that you all will also play along with me for just a moment, preparing yourself for reading the musical care vignette I am sharing with you here.

As this week comes to a close , what piece of music is calling you to listen, to truly listen? Carve out a little more time to find it just now on your preferred platform and simply press ‘play ’. For me, first to mind is Samuel Barber’s Adagio for Strings, performed by the New York Philharmonic under the ever-intuitive baton of Leonard Bernstein in the 1960s. This recording honours the rests as much as the notes, with ample breathing room for an intentional practice like ours. Now, make yourself comfortable, either standing with both feet grounded on the floor beneath you or, if seated, on the chair’s edge such that you are aware of your posture. During a conducting workshop several years ago, the concepts of sinking with strength into our inhale and rising with lightness as we exhale resonated such that I have woven them into my care approach, to always invite others to find this breathing pattern in preparation for musical engagement. Close your eyes if you are able and just feel your whole self melt into this moment. Take your time … these written words below can await your return:)

“Emotion in song. I want all of it.” When I heard this desire expressed by the narrating character of a current film in theatres “The History of Sound” I thought yes …yes, so do I, for what are songs but stories set to melody, evoking deep emotions? One of my community partners aims to offer lifestyle interventions of movement and creativity for those living with brain conditions and their care partners. It is my joy to facilitate a virtual singing collective for them as well as in person collaborations where sounding and singing flow into our pursuit of connection and wellness. It is through one of these workshops that an opportunity has arisen to offer music as care to an historian in his eighties recently diagnosed with Alzheimer’s. He is hoping that singing fervently like he did in the choir of his youth will soften the edges of the grief he has been carrying since his childhood. Emotional expression is at the very core of our time together. On the wings of song and tears, our shared experience is heartbreaking and healing all at once. It is one of life’s stunning beauties that music can be this gift to us, reaffirmed by a live performance that brought me to tears last evening by The Swell Season. I have been playing their most recent album on repeat all morning, each song resonating deeply.

Seek this out for yourself, my friends. Let music wash over you, release you, ground you, and connect you to your loved ones. In so doing, you are crafting another meaningful chapter of your personal story.

Focusing the Lens on How We Connect through Song #2: A Trio of Reflections

Thu, 11 Sep 2025 14:00:42 GMT

Well hello again, friends. Buoyed up by hope that my words offered here a few weeks ago have had you considering your own unique moments of being touched by music as care, I will sharpen our shared lens and share another vignette of personal experience.

I have been making music in church spaces since I was very young…it is a give and take that has woven into my life rhythms as a constant beat for almost fifty years. The gratitude piece that flows through this element of musical practice is that my family of faith granted me a formative foundation from which to understand music as a spiritual gift of care. So, to recently have a woman with whom I worship Sunday after Sunday express with eloquence what it means to her to receive my playing and singing, it moved me deeply and felt worth sharing here. She is a spiritual care practitioner and a visual artist. She sees and experiences the most profound of feelings on the daily.

Bonding over coffee and platz , she graced me with a beautiful expression of how my approach to singing on that given Sunday was of such sensitivity that it actually made her feel heard in the listening. I have been thinking a great deal about the reflexivity of that naming by this generous human. She sensed that she had a voice, that I was honouring her listening presence, amidst the vocal expression of the song I was sharing. Let’s consider this for just a moment…the invitation into relationship that is formed through timbre and lyrical shaping. We were each caring for each other in that experience.

The next morning, I participated in a virtual workshop hosted by the “Singing Side by Side” network in the UK, an interdisciplinary team of researchers with expertise in music therapy, health psychology, choir leadership and community engagement. The focus was about the musical skills that add wellbeing elements to song. And so again, the gateway to true connection in the dialogue seemed to be about the learning that comes through listening. So let’s listen, yes? Be it to your mother’s song, to your dear friend’s story, or to a graceful bird like the one soaring above me just now.

Let’s commit to caring in our listening.

Focusing the Lens on How We Connect through Song: A Trio of Reflections

Thu, 28 Aug 2025 12:57:49 GMT

As the heat of August hints at releasin g it’s h old on us so we can step into the return of fall rhythms, I have been immersing myself in the repertoire that will potentially find expression in my classrooms and music care spaces. Some of these pieces have been at my fingertips for years, others are arrangements as new to me as they will be to those who join in the singing.

We will explore melody, breath, rhythm, and phrasing together. While seeking the deeper story threads of lyrical meaning, bringing an interpretation that is uniquely ours to each composition, music’s capacity to foster relationship will undoubtedly arise yet again as a key player in our experience. It is an element of my practice that presents itself with constancy and yet, never ceases to amaze me.

Perhaps you have been granted that gift of connection through song somewhere along your own distinct life path…can you transport yourself to that moment and consider its impact upon you?

I recall facilitating a virtual singing session several years ago which saw me raw with emotion due to some distressing circumstances in my family circle. As much as the music educator in me was trying to maintain a certain professional veneer, I was fragile and coming undone while attempting to guide us through the songs we had hoped to sing together that day.

In the final phrase of one piece, as I sought resolution in a gentle pattern of chords on the piano and exhaled deeply so as to find equilibrium, one of my participants softly asked if everything was alright . I raised my gaze, and the answer was there in my tears. The faces on my screen were just the reassurance I needed to be honest with them about my sadness. One by one, they suggested songs that they could sing for me, expressing how I didn’t even need to accompany them if I simply wanted to listen.

The rest of that hour unfolded as though it were a warm embrace of care from them all. Writing about that experience now, the sense of connection is ever strong.

Flowing out of this shift, reflecting on who was musically caring for whom, a realization emerged that lit a spark. We are all capable of wrapping each other up in song. A part of us is singing for our personal health and wellbeing but when we are finding our voice alongside others, we build bridges of tenderness, compassion, and empathy.

I hope you’ll come along with me for this trio of reflections upon the connections which arise through song. Inhale, exhale, and be present together as we consider the ethos of musical care for one another.

Music, Gratitude, and the Soundtrack of Our Lives

Thu, 14 Aug 2025 16:30:58 GMT

Early this summer, I had the incredible privilege of seeing my favourite musical artist, James Taylor, in concert. The evening was a birthday gift from my husband, and it was unforgettable.

As I listened, I found myself reflecting on why James Taylor has had such a profound influence on my life. I first fell in love with his music in high school, and since then, his iconic voice, heartfelt lyrics, and timeless melodies have been the soundtrack to my emotions. His songs have soothed me in difficult times, given words to feelings I couldn’t otherwise express, lifted me up, and accompanied me in moments of solitude. They’ve inspired connection, nurtured a sense of shared humanity, and encouraged self-compassion.

Gratitude runs like a golden thread through much of his work. Obvious examples include How Sweet It Is, You’ve Got a Friend, Carolina in My Mind, and As Easy as Rolling Off a Log, but for me, gratitude is woven into so many of his songs, gratitude for life, for love, for nature, for simply being alive.

One might assume, listening to his vast collection, that gratitude came easily to Taylor, that he lived a simple, happy life. But his journey has been far from easy. He’s faced severe mental health challenges, addiction, relationship breakdowns, loss, grief, and loneliness. Perhaps his deep connection to gratitude is part of what helped him persevere and heal.

Music, across all genres and eras, has the power to connect us to gratitude. Research on gratitude and wellbeing The effects of gratitude interventions: a systematic review and meta-analysis - PMC shows that cultivating gratitude can be a strong foundation for self-care. A single piece of music can instantly bring us back to a loving relationship, a joyful moment, or a treasured memory. For example, when I hear a Medieval madrigal or Renaissance choral music, I’m filled with love and gratitude for my dad and the passion for music we shared.

Music itself is something to be grateful for. Think about the symphonies of Beethoven or the piano concertos of Chopin, the sheer artistry, the vulnerability of musicians creating works that invite us to connect with our own humanity. The alchemy of poetry and melody makes music one of the most powerful art forms for emotional connection.

A Music + Gratitude Practice

Write down (or think of) three things you’re grateful for.
Choose music that helps you connect with those things.
Reflect on the types of music you are most grateful for.
Send a moment of silent thanks to the artists whose music has touched your life.

And if you need a boost, try listening to songs with themes of gratitude, they can be a gentle reminder of the beauty in your life, even on difficult days.

Gratitude Playlist for you to Dive into Right Away:

Classic & Folk

What a Wonderful World – Louis Armstrong
Thank You – Dido
Count Your Blessings Instead of Sheep – Bing Crosby
Give Me Love (Give Me Peace on Earth) – George Harrison
Forever Young – Bob Dylan

Pop & Soul

Thank You for Being a Friend – Andrew Gold / Golden Girls theme
Grateful – Rita Ora
Sweet Baby James- James Taylor
You’ve Got a Friend – Carole King / James Taylor
Lovely Day – Bill Withers
Your Smiling Face- James Taylor

Spiritual & Uplifting

Gratitude – Brandon Lake
How Sweet It Is (To Be Loved by You) – Marvin Gaye / James Taylor version
I Just Called to Say I Love You – Stevie Wonder
Blessed – Elton John
Shower the People- James Taylor

 Contemporary & Indie

Kind & Generous – Natalie Merchant
Thank You – Keith Urban
Gratitude – Earth, Wind & Fire

The Power of a Musical Body Break

Thu, 31 Jul 2025 13:28:11 GMT

The research is out… and it’s conclusive! You simply cannot sit for long periods of time without getting up to move: your mother has told you; your doctor is telling you, The World Health Organization is advising you, in no uncertain terms; even your smart watch is asking you to get up and move!

But are you doing it? Perhaps today’s Music and Wellness Blog will give you the facts and help inspire you to indulge in regular body breaks or “exercise snacks” as they are more commonly being called.

Active breaks are not just a nice idea, they are imperative. Research from The University Of British Columbia, Faculty of Medicine The Importance of Movement Breaks - UBC Physical Therapy and Research Clinic found that these short breaks help to reduce the associated risks of a sedentary lifestyle. Even short, simple activities like walking, household chores and gardening can add up to supporting a healthier balanced day.

The World Health Organization suggests a 40% increase in mortality is associated with prolonged sitting and recommends short bursts of physical activity. My physiotherapist quips that sitting is the new smoking.

When I made the transition from a teaching career that had me up on my feet much more, I felt the difference because now my day often consists of prolonged hours of writing and online meetings.

There is a lack of consensus about how long is too long in a sitting position. You may have heard that a break every 20 minutes is advised; that for me feels a little too frequent. I have read that the brain focuses well in 90 minutes cycles and that attention will wane after that stretch of time.

So my personal protocol that addresses these issues is this: I choose 30-45 minute work sessions, set a timer or alarm and then ask Alexa to play one of my high motivation tunes to fire up my heart rate.

The dogs will watch me dance around the room, jump as high as I can and land in a deep lunge for 10-12 reps, or they may witness one of my favourite activities that is often accompanied by a disco selection, speed cleaning the kitchen.

I may alternate throughout the day with a relaxing track. My go-to here is Room 217’s Diverse Sounds Collection where soothing melodies will accompany a pose of the child, my legs up against the wall, or some gentle Tai Chi movements.

What is important is that you choose music that is right for you. What music motivates you? Calms you? The more these energizing exercise snacks become part of your daily routine, you will know what your body needs- a bit of workout pop to get you jumping on the spot or a strum of the guitar and solo voice to guide you into a five minute full body stretch.

The body break is your practice, and it must work for you to be consistent, from your musical selections to your body’s needs and requirements. Your body will thank you, your overall health and your brain too. Enjoy today’s snack!

Music and Positive Self Talk

Thu, 17 Jul 2025 17:57:18 GMT

You’ve most likely heard about the power of self talk. There are numerous studies that support the use and practice of simply saying kind, motivational or instructional words to yourself. How many of us, however, continue to default into engaging in an unhelpful and critical monologue? I’ve often heard, why would you say something to yourself that you would never consider saying to your friend? Perhaps that is the crux of the problem, before we continue, it is of utmost importance to develop a loving and compassionate relationship with ourselves. If that seems easier said than done then STEP 1: there is a world of mindful self-compassion for you to explore through Dr. Kristin Neff’s The Mindful Self-Compassion (MSC) Program

Positive Self Talk has been proven to impact so many aspects of our lives such as sports performance as well as other forms of performance including task completion . Positive Self Talk has also been found to support attentional focus and resilience to distraction . Studies have also shown that it can help to alleviate depression in adolescents and students . It can help with public speaking anxiety and even in helping you beat disease and aid in healing and recovery . The essential messages drilled down: you are important, you matter, you are worth it, so believe in yourself.

How is it done, you ask? And how can it involve the use of music? This daily ritual can take as little as 20 seconds a day and can be personalized to be accompanied by the music of your own choice. The technique is simple but has deep and far-reaching benefits:

Close your eyes and bring your attention to your breath for at least 3 deep inhalations and exhalations.
Recall a recent challenge, obstacle that you have encountered, or self doubt and observe your body’s response. Where can you feel a tightening or discomfort?
With one hand on your heart and the other on your belly offer kindness, compassion and visualize how you can offer yourself a helping hand, to be a friend to yourself.
Come up with a short phrase to capture how you can make yourself feel loved and supported, perhaps something like, “today was hard, tomorrow will be a better day” or “ I forgive myself”, or maybe, “I am capable of more than I realize”.
Now choose a tune, it might even be the earworm that has been going through your mind all day or just a favourite melody that you know well and put the phrase to the tune.
Repeat this throughout the day, seeing it as an antidote to the sinking feelings that you are struggling with.

This short and beautiful practice can help sustain and fortify you when you are faced with challenges and can become one of the effective practices that you can turn to with a sense of routine or ritual to support your performance, your resilience and your overall wellness.

Biophilia and the Music of Nature

Thu, 03 Jul 2025 20:05:55 GMT

Summer has finally returned to Southern Ontario, where Room 217’s head office is located. After a long winter and an indecisive spring, the warmth and fullness of the season are a welcome relief, and with it comes new editions to our Music and Wellness blog series.

We all know the benefits of being outside. The sounds, rhythms, and sensations of nature seem to instinctively calm us. Whether it’s the rustling of leaves, birdsong, the babble of a brook, the lapping of waves, or the nighttime chorus of crickets and frogs, these natural soundscapes immediately signal safety and rest to our nervous system. They stimulate the parasympathetic response, the part of our autonomic nervous system responsible for rest, relaxation, and recovery.

Scientific research supports the theory that humans possess an innate desire to connect with nature. The word biophilia literally means “love of life.” This deep-rooted connection helps explain the joy and curiosity we feel when we encounter natural sights, smells, and especially sounds. These experiences are more than pleasant; they are biologically regulating.

Icelandic musician Björk explored this idea creatively in her concept album Biophilia, calling it a musical revolution that maps melodies to natural phenomena, an artistic expression of our primal connection to the living world.

From a wellness perspective, certain natural sounds are particularly effective at reducing stress. For instance, gentle ocean waves are slow, rhythmic, and predictable. They often occur at frequencies that align with the brain’s delta wave state (0.2 Hz), a state linked to deep relaxation and sleep. This phenomenon is known as brainwave entrainment, where our brain activity syncs with external rhythms. It can slow our breathing, lower heart rate, and ease anxiety.

Even if you can’t get to the ocean or forest, listening to high-quality recordings of nature sounds can offer similar benefits. These soundscapes are now used widely in therapeutic settings to support calm, focus, and sleep.

In recent years, musicians have begun integrating natural sounds directly into their compositions to support these effects. One of the most well-known examples is Weightless by Marconi Union, a piece created in collaboration with sound therapists. It’s considered by many to be the most relaxing track ever recorded, designed with a tempo that slows gradually from 60 to 50 beats per minute, matching the resting human heartbeat, and includes ambient sounds from nature.

Here are a few other notable examples of music that incorporates natural soundscapes:

Brian Eno – Ambient 4: On Land
Subtle layers of frogs, distant thunder, and misty echoes create a serene, immersive sound environment.
Max Richter – Sleep
An eight-hour piece with ambient drones, soft piano, and flowing water sounds, designed to support rest and deep sleep.
Nils Frahm – Says / Tristana
These minimalist compositions include field recordings of leaves crackling, birds chirping, echoey natural spaces.
Bernie Krause – The Great Animal Orchestra
A pioneer in ecoacoustic music, Krause uses authentic recordings of birds, whales, rainforests, and insects to showcase the natural world’s own music.

Whether through live experience or curated recordings, the music of the natural world can help us slow down, regulate, and reconnect. For your own wellness or to support someone you love why not try listening to the sounds of nature in music.

Everywhere at the End of Time: Understanding Dementia Through Music

Wed, 18 Jun 2025 14:58:09 GMT

This article was written by Chelsea Mao and is part of a series provided by upper year Health Sciences students at McMaster University.

Everywhere at the End of Time by The Caretaker is the alias of English electronic musician Leyland Kirby. This is a 6-album series in which they use loops of sampled vintage jazz music, featuring tracks such as “Heartaches” by Al Bowlly and “Say It Isn't So” by Layton & Johnstone. The product depicts a slow and harrowing progression, as it is a piece of haunting experimental music and noise. The albums were released from 2016 to 2019 in 6-month intervals to convey the passing of time, rendering themes of decay, melancholy, and confusion through this abstract 6-hour series.

The first album is simply a compilation of samples of 1930s jazz music, noting that those living with dementia today have most likely lived through that era of music. As we progress to the second and third albums, the music slows down but is still recognizable, similar to how life slows down with time, but we still possess memories of the past. The music becomes distorted and eerie, and the sounds of the vinyl record crackle, symbolizing the waning of one’s memories with hints of confusion. It almost sounds like the realization of memories fading away with an incohesion of the past. The fourth album is when it feels like it’s practically an entirely different album. Songs and instruments start and stop playing randomly, exemplifying the memories becoming entangled and repetitive. The fifth album brings a level of fear to this 6-album series. It made the unfamiliar sounds of album four sound familiar, caked with a layer of confusion. The last album is a depressing depiction of uncertainty. The sounds of this album are so quiet that they seem loud .

There are many misconceptions about what dementia is defined as , but generally, dementia is an umbrella term used to describe diseases that cause abnormal brain changes. Most commonly, people living with dementia struggle with cognition and experience a range of behavioural and psychological symptoms like agitation or depression. Although it’s found that Dementia often impacts people over the age of 65, some can still experience it at an earlier age, as early as their 40s and 50s. So, it’s crucial to grasp the symptoms of dementia and find ways to mitigate such symptoms to ease your loved ones with dementia.

This is why I chose Everywhere at the End of Time, as music is a universal language that we can use to communicate with each other, no matter our background. The album helps us, the caregivers, to recognize the distressing and frightening reality of people living with dementia.

For my entire life, I’ve always loved to drink Coca-Cola, and I think part of it was conditioned by my grandma. She always had a can of Coca-Cola, whether she was watching TV or playing board games with me. A few years ago, she was diagnosed with Alzheimer’s disease. It took a toll on me because we had always been really close, and with her living in China, I felt useless because I wasn’t able to be there and care for her. She's at the stage now where she hardly recognizes me. I understand that her memory of me and herself is fading, but I know that she is still there because even when she is having trouble eating food, she will always have a Coca-Cola with her meals. Although it’s hard for me to watch someone who essentially raised me (alongside my mom) suffer through this, I can’t fathom the pain and confusion she has to endure with dementia.

I think many caregivers struggle to help patients experiencing dementia, and it can even have an adverse effect on their personal mental health and flourishing. However, music can be used by the caregiver or anyone to connect with those living with dementia, and I think it’s such a powerful tool for overcoming barriers between caregivers and their patients. Whether we use music for communicating with others or for regulating emotions, it’s pieces like Everywhere at the End of Time remind us how closely related music and health are.

The Healing Power of Music, Explained

Thu, 29 May 2025 13:03:36 GMT

This article was written by Chelsea Mao and is part of a series provided by upper year Health Sciences students at McMaster University.

I have always been infatuated with music. Playing piano and flute, albeit it was my mom who made me play these instruments, since I was nine, has helped me develop patience and passion. These days, it’s my bass guitar that I turn to when life feels overwhelming. There’s something grounding about its low, steady rhythms that feels almost meditative. Music has become my go-to stress reliever, a way to unplug from the chaos and reconnect with myself. Through years of practice, I didn’t just learn notes and scales—I learned patience, discipline, and the quiet joy of creative expression. Music has always been an instrument of comfort for me, and I believe many others can relate. With easy access to technology, music is always within reach, serving as a tool for mental well-being.

Music is more than something we listen to while driving or showering, it’s powerful in the way it can shape how we feel, move, think, and connect. But what is it about music that can move us in such an impactful way? It ranges from rhythm to social connectivity, with s cience deeply rooted in its influence on our wellbeing . With my experience with music, I wanted to see what it is about music that helps with one’s quality of life.

Tonality plays a crucial role in shaping our emotional responses to music. It encompasses harmony, melody, timbre, and tones in speech and sound. The Vocal Similarity Theory suggests that our experience with tones shapes how we perceive and process music. Music therapists and musicians have intuitively used tonality to modulate emotions, aligning with scientific findings on how specific tonal qualities impact mood. I personally love listening to lively music when I’m with my friends, or listening to classical music when I need to calm any nerves I have with school.

Rhythm is another vital element that influences our sensory and motor functions. Neural Resonance Theory suggests that rhythm plays a role in improving sensory and motor functions in music therapy. Rhythmic music has historically transformed labour-intensive work into more bearable experiences. The biological foundations of rhythm offer insights into how music can address challenges in mood, cognition, and motivation.

Reward mechanisms in the brain are strongly linked to music. Listening to music activates the brain’s reward system , releasing dopamine and fostering pleasure, motivation, and emotional regulation. This activation explains why music can be deeply satisfying and even addictive in some cases. The way music stimulates the brain’s reward system contributes to its effectiveness in alleviating symptoms of anxiety, depression, and stress. After I finish a test, I usually grab my bass and start jamming to my favourite songs. It’s my go-to stress reliever! As soon as I start playing, I slip into a flow state, letting my fingers follow the vibe and my emotions lead the rhythm. It feels extremely freeing.

Sociality is another core aspect of music’s impact. Music strengthens bonds, enhances group cohesion, and provides a means of expression beyond language. Since music is inherently social, it has been used across cultures to bring people together, from communal singing to shared musical experiences. This social component of music further supports its therapeutic applications, as engaging in music-making with others fosters a sense of belonging and emotional connection. For my family events, we would often play classic, nostalgic Chinese music, and it’s a beautiful way for all of us to connect emotionally.

Incorporating music into our everyday lives is more than just a way to pass time, it’s a practice that positively impacts emotional well-being, strengthens social bonds, and enhances cognitive and sensory functions. From its ability to ground us in moments of stress to its role in fostering connections, music is a unique and accessible tool that aligns with our biological, emotional, and social needs. By embracing music intentionally, we create a form of joy and happiness that can enhance the quality of our lives.

Called by the Music: A Journey into Arts, Healing, and Community

Fri, 23 May 2025 14:17:08 GMT

MUSIC CARE Certification inspired me to attend University and continue my exploration of Arts and Cultural Management and the use of music. Learning about the history of music, performing arts management, and the business of engaging in the arts and the non-profit sector has been very helpful with respect to expanding on the things that I learned, both in my life and with Room 217.

My first call to Room 217 to sign up for training in a town four hours away was one of the best calls I ever made. Since then, my life has changed considerably; the pandemic brought us all together online and eventually back in person. What a ride. I am grateful for this community, as it has enriched my life a great deal while going through a lot of grief. I have been able to share what I know with people on an ongoing basis. I observe how music moves through people's lives in a very conscious and unconscious way, and I see the benefits in a way I hadn't before.

One Music care strategy I have used is collaboration and present listening with my clients to create an environment of acceptance comfort and provide a personal and customized experience. I have been experiencing the loss of my hearing in one ear recently, and this has influenced how I approach the elderly with the gradual hearing loss that they experience through the aging process. I am more aware and cognizant of their needs this way and like to experiment with instruments and music that provides a vibration that is tangible to the participant.

I am always open to new information and experiences that grow my practice. I love to practice the art of community and music care. It fills me with Joy.

Key Change Series Part 6 – Overcoming Barriers to Change

Fri, 09 May 2025 12:58:02 GMT

One important step in the process of change and change management is figuring out what roadblocks you might experience along the way. Barriers are things that interrupt the goal of lasting change, and by identifying them ahead of time, disappointment and curve balls may be mitigated.

In the 3-year research project that provided the operational process and evidence behind MUSIC CARE CERTIFY , the enablers and barriers within 27 long-term care homes implementing musical integration were collected and evaluated. We found 4 key factors that became predictors of success or readiness factors. We called them factors because in some cases, the indicator was a barrier and in other cases the exact same issue, handled differently was an enabler. We call these 4 factors, predictors of success: integration, core staff, processes, and delivery.

Integration refers to what it takes to incorporate music into the care setting. Strong, decisive leadership, oversight, and advocacy for music care from the top and from the music care site team leader is critical. When music is perceived as holistic, integral, fun and pleasurable, then it is a huge enabler. When musical care is valued, then there is ongoing financial investment in training and programming. Care recipients need to be involved in making decisions about what happens around music so that music is not done ‘to’ them, rather ‘with’ them. Having a certified music therapist as the site team lead, or on the music care site team is advantageous for musical and clinical expertise. Musical care coaching and mentorship through training and ongoing support through organizations like Room 217 gives caregivers the confidence to use music effectively and responsibly.

Core staff means that there is a group of staff members responsible for music care delivery, and they are all using music as care. Using a relational, person-centred approach, staff is aware of care recipient needs, and knows when music is most appropriate to meet those needs. The workplace culture is predominantly a growth mindset where staff are encouraged to learn, try new things, and think outside the box. There is a drive towards continuous improvement, where evaluation is a best practice, including professional reflective practice. Staff is adaptable and can easily flex and adapt to a changing environment and care recipient needs.

Processes comprise the internal operational procedures that impact music care delivery. When recruiting care recipients for music care, residents are prioritized based on their needs. Music care planning has sequential steps and determined accountabilities with resources such as physical space, technology, and musical instruments available for music care. The plans and processes are well communicated and mobilized with the team. Music care tracking and training are well in place and are regularly reported on.

Delivery of music care is reflected by flexibility. Is the music care program or strategy adaptable to language for example, or group size? Having the confidence to deliver music as care does not depend necessarily on your perceived musical talent. Being confident in the process of what you are delivering is most important. When musical care is delivered with social bonding in mind, then inclusivity, whether that is about ethnicity, or socioeconomics, becomes a necessity. Frequency of music care programming or strategy may be an important indicator for success. Delivering music care with a cohesive team approach is optimal.

When music is used as an agent of change, particularly as a change management system like MUSIC CARE CERTIFY , the organization benefits in a number of ways. There are business wins such as differentiation from competitors, strengthening unique sector strategies, showcasing the achievement of your team, boosting morale. There are staff gains. Staff feels supported with new learning, access to music care tools, strategies, training and ongoing support. Staff may feel more resilient by building some personal musical self-care strategies. And we’ve shown some of the measurable changes that music can help to make: improved sleep, improved appetite, greater engagement, safer transitions for example. There really is nothing more person-centred than music care. It is completely customizable.

Most of all, the care experience changes – for everyone in the circle of care. Better care. Improved quality of life. Moments of joy. Empowerment. Human connection; those are the changes we need and are looking for.

Key Change Series Part 5 – MUSIC CARE CERTIFY: Change in Action

Thu, 24 Apr 2025 14:36:45 GMT

Music is a catalyst for measurable change . And it can be woven into the fabric of a caring community. Care leaders have the power to make that change a reality within their organization through our MUSIC CARE CERTIFY program.

Kindera Living has rolled out MUSIC CARE CERTIFY in 8 of their homes in Ontario with excellent results. Each care centre had their own unique music care site team and addressed a site challenge with music.

For example, Kindera’s Dundurn Place Care Centre wanted to reduce the stress of daily care given to residents. Dundurn is in the heart of downtown Hamilton; it is multicultural, and serves 112 long-term care residents, 2 respite and 22 convalescent residents. The music care site team learned the residents’ musical preference and incorporated them into personalized playlist used during personal care sessions by the PSWs. Expressive behaviours were reduced by 78%. Cooperation during care improved and stress was reduced for both the care recipient and care giver.

At Wellington Park Care Centre in downtown Burlington with 135 long-term care beds and a 16-bed restore program, the music care site team wanted to improve resident experience by creating a music-rich environment. By offering an abundance of new music programs, adding music to existing programs, and encouraging opportunities for musicking, Kindera’s Wellington Park increased monthly musical offerings by 128%. This meant music therapy hours were doubled and now, all residents have their own set of headphones. The team saw an increase in engagement, emotional responses and social interaction.

At Banwell Gardens Care Centre in Windsor, a 142-bed Kindera home, the music care site team evaluated the impact of a resident chosen song on staff, when played during the honour guard. Note, when the residents dies and leaves the home through the front door, staff, residents and family gather for an honour guard. Results showed that 83% of staff feel less isolated in their grief when this ritual is performed with resident-chosen music; 94% of staff felt that the resident-chosen honour guard song helps them process grief more effectively.

At Anson Place Care Centre, a 47-bed Kindera home in Hagersville, the music care site team created the ‘Sound Bites’ initiative where resident personalized playlists enhanced the dining experience and increased resident appetite by 19%. There were other benefits during mealtime as well, such as a 20% increase in social interaction with more talking, humming, singing, laughing, smiling, swaying and toe tapping.

Huron Hospice in Goderich Ontario was the first hospice in Canada to become MUSIC CARE Certified. Their music care site team wanted bedside musicians and nurses at their residential hospice to observe and evaluate the effects of music on residents. By developing two observational feedback cards to record observational outcomes, hospice nurses found that 83% of residents felt calmer from live music moments offered by trained community musicians. Not only did the residents benefit from the music, there was deeper mutual appreciation and support amongst the nursing staff and volunteer musicians.

Acclaim Health in the Peel and Halton regions offer adult day programs to support physical and mental well-being through independent living, reduced social isolation and innovative dementia care. At Patty’s Place and Mississauga Clubs, the music care site team used cue songs to improve client transitions in afternoon programming. By using a catchy familiar tune to encourage clients to get up and walk to the after-lunch programming, 75% of clients showed more engagement during the transition by singing, clapping or dancing. At the Burlington and Walmley clubs, personalized musical playlists were used to redirect client agitated focus towards musical engagement such as listening, singing, dancing and discussing.

While these are some of the measurable changes reported through the MUSIC CARE CERTIFY process, anecdotal evidence of music’s impact was plentiful.

“The stories that come out of our Men’s Musicking program are often touching and humourous which opens the door for deep emotional reminiscence and a collective appreciation of each other’s lives.” – Music care site team member, Menno Place, Abbotsford, BC

“Lack of quality sleep in seniors can lead to a range of issues, including increased risk of chronic diseases like heart disease, stroke and diabetes, as well as cognitive decline, falls, weakened immune systems and mental health problems like depression and anxiety. Hawthorne Care Centre’s music care team along with PSWs, used music (15 minutes of play) prior to bedtime to improve resident sleep quality. How exciting for Hawthorne residents!” – Sandy Croley, Director of Programs and Rehabilitation, Kindera Living

“Before music was introduced, he was constantly in his room and preferred to stay in bed and sleep. After Arbour Beats came in play, I noticed him coming out of his room much more often asking what programs were happening. I now notice he will start singing in his room on his own, even when music is not playing. He sits in his chair and belts out multiple songs at any time of day for a long duration. I think music sparked something in him.” – Music care site team member, Arbour Creek Care Centre, Stoney Creek, ON

We honour all of the early adopters of MUSIC CARE CERTIFY , building the case for music integration as a strategic, key change in the care culture.

Key Change Series Part 4 - MUSIC CARE CERTIFY: A Change Management System That Transforms Care

Tue, 08 Apr 2025 17:30:47 GMT

The role of health and social care leaders is to drive lasting change that enhances both quality of care and the experience of the care team. Implementing effective change in a care setting is complex—but it doesn't have to be daunting. MUSIC CARE CERTIFY (MCC) is a transformative solution that not only improves the well-being of care recipients, but also nurtures a culture of innovation and collaboration among staff.

MCC is more than just a program—it’s a change management system. It provides a structured, step-by-step approach to implementing music as a core element of care, ultimately enhancing quality of life and supporting quality improvement across your organization.

The goal of MCC is to establish, integrate and evaluate music within caring communities to achieve better care outcomes.

How Does it Work?

MCC is built around five quality drivers that are designed to help deliver and sustain a high standard of music care. These quality drivers ensure your organization integrates music care in a way that is sustainable, replicable, and measurable. They include:

Leadership: Champions of change at every level—site team leaders, staff, and music care facilitators working together.
Music-Rich Environment: Creating a space that enhances the emotional well-being of everyone through music.
Professional Practice: Ensuring that music care is delivered by skilled professionals.
Continuing Education: Providing ongoing training to ensure staff is prepared and confident in using music as part of their care approach.
Action Research: Continuously assessing and improving the program to ensure the best care outcomes

By using success criteria assigned to each quality driver, organizations can track their progress through Bronze, Silver, and Gold levels of achievement. Each level reflects the depth to which music care has been integrated into daily practices. From initial adoption (Bronze) to a fully embedded, transformative model (Gold), MCC provides clear milestones for caring communities to strive toward.

Upon completing MCC certification, the caring community will be recognized as MUSIC CARE Certified. This prestigious designation signals your commitment to improving the quality of life and care for everyone within your site.

The Real Benefits

Change management doesn’t happen overnight—but with MCC, the benefits are clear and impactful:

Staff Satisfaction: Care professionals report increased job satisfaction, resiliency, and retention.
Innovative Culture: MCC fosters creative, innovative thinking, empowering care teams to explore new ways to improve care.
Improved Care Outcomes: Music integration leads to better care experiences and enhances alignment with relational and person-centered approaches.
A Competitive Advantage: Organizations that adopt MCC differentiate themselves, gaining a competitive edge by offering a unique, high-quality care experience.

In the next blog, we’ll dive into the stories of early adopters of MCC in Canada. The results are already speaking for themselves—MCC is changing the way care is delivered, creating a culture that values well-being, innovation, and measurable outcomes.

How Music Nurtures My Soul and Supports My Work in Education

Wed, 02 Apr 2025 15:14:53 GMT

Music has become for me a bit of a window into my own soul. My playlist for on the way to work enables me to be more grounded in my own beliefs and purpose as I enter into the busyness of my day to day work. Throughout the day snippets of songs come back to me and help me to refocus and also realign with my own values as I work. Sitting at the piano and playing around with melodies and lyrics opens up space in my head and my heart. Creating simple songs allows me to explore my beliefs and emotions and look deeper into my soul, finding places of peace and clarity that spill over into my interactions with family, friends, co-workers and students. Music helps me to slow down, to reflect, and to better understand myself in relation to God and the world around me.

In my role as a student support teacher in an elementary school, I often use music with both adults and children. Working in a school is fast-paced with many decisions made on the fly. Teachers experience high levels of decision and compassion fatigue. They care deeply for their students and work hard to meet a wide variety of needs within their classrooms and the schools. One way I have used music is to give space and invitation for staff members to gather together and listen to music as a way to reset, reconnect and regulate during the course of a week. Listening to music has helped people to take time to process their emotions and reconnect with their purpose, giving new strength and courage to continue their important work.

Working with students, I use music primarily as we look at social and emotional learning. For example, we have used an original song to help teach students internalize a process of conflict resolution that we are using to help student grow in their independent conflict management skills. Using music to help students regulate their emotions when they are upset has great benefits. This can take a number of different formats. A drumming conversation, ie. back and forth sharing of rhythms, has helped some students who are struggling to talk about what is frustrating them. The process of drumming and focusing on the rhythmic conversation frees their thinking and grows their trust enough that they are able to communicate about their big emotions. Listening to calming music can help when a student is feeling overwhelmed by their emotions. And writing songs about loss and struggle has helped some students cope with difficult situations in their lives.

In my life and practice music helps build connection, community and trust allowing for deeper, more meaningful relationships that help to support students and staff learn and grow together in school.

When Music Care Becomes Personal (Yet again)

Wed, 02 Apr 2025 14:51:10 GMT

I undertook the MUSIC CARE Certification program when I had journeyed through caring for my mother with Alzheimer’s. It was during my training, I learned how music works in terms of timbre, melody and rhythm and beat, music care domains and music care strategies. It helped me to support mom as the disease progressed.

I continued to certify through Music Care and then I had the joy of teaching others the level 1 program Fundamentals of Music Care Theory and Context . I have loved coming alongside others in Long Term Care and using music to support giving voice of what is within one’s life, preventing isolation and loneliness, creating community.

I enjoyed all it all.

Then, I found myself once again in the Emergency Room with Tim, (my family member) as we were helping him home in his palliative journey. My “outside life” took a back seat and my inside hospital life began. Tim’s was failing and he was no longer able to open his mouth and swallow to obtain nutrient’s due to Parkinson’s . We tried various types of foods, textures and flavours, however, opening his mouth and swallowing remained inaccessible.

Tim loved Glen Campbell and Rhinestone Cowboy . When he was a young man, he would repeated play this song until the LP was worn through. He was given a new Glen Campbell CD at Christmas and the song was welcomed back into our lives. There I was ,in my new environment on the tenth floor of the hospital, playing Rhinestone Cowboy. Tim sang along. He actually sang along! He moved his mouth, swallowed and sang along. We were able to get pureed food into his body.

Later, the disease continued to ravage his body and Rhinestone Cowboy helped us connected with other such as the speech language pathologist, doctors, cleaning staff and nurses. We sang and danced together with the music and Tim smiled. He knew he was part of a community who loved him.

As we knew the end was coming, I played music with a simple melody, 60 beats per minute and soft timbre on my harp to support Tim as he fell into sleep. Near the end, I used tonal music in simple phrases to support calmness matching his breath. Tim passed peacefully and gentle.

Today, at his funeral our last song “Rhinestone Cowboy”. After hearing the importance of this song, all the people present joined in singing to honour the village of Tim that so lovingly cared for him.

Music Care training has become a natural rhythm in my life to use with aging and sick family members, supporting young children’s learning and providing self-care when I was tired after intense caregiving.

Key Change Series Part 3 - Transforming Care with Music: A Framework for Integration in Healthcare

Wed, 19 Mar 2025 15:10:20 GMT

In the first two blogs of this Key Change series, we looked at why music is considered a care solution. Undoubtedly, there is still a lot of work to do in educating the public and the care sector with a clear rationale for musical care. The bigger question, though, isn’t why music, it is how music can become integrated into the daily practice of caregivers and caring communities in a way that is meaningful, sustainable, and measurable.

Many caring communities struggle to operationalize approaches like music care in a way that’s both intentional and measurable. While the research supports music’s therapeutic benefits, there’s often a disconnect between evidence and practice. The real question is how do we move from theory to everyday application?

Room 217’s Integrated Model of Music Care (IMMC) is a proven framework designed to embed music into the daily practices of caregivers and care organizations. This model not only addresses cultural and contextual differences but also optimizes music in any health or social care setting. The IMMC ensures that music is not simply an add-on or an afterthought but an integral part of a care delivery system. By considering the specific needs and operational realities of an organization, this framework encourages implementation of purposeful music and sound based interventions—such as personalized playlists, music therapy, soundscapes, or community performances—tailored to improve the physical, emotional, and social well-being of everyone in the circle of care.

The IMMC framework is grounded in four key components, beginning with education. Informed music use begins by training a team at the care site to champion the music care approach. With this knowledge, the team identifies a clear intention for using music to make an impact, such as reducing isolation for residents by introducing music initiatives and interventions. These can include initiatives (like a bell choir or personalized playlist) or interventions (evidence-based practices, such as those provided by a neurologic music therapist.) These initiatives are implemented through measurable programs, care tasks, or therapeutic relationships, with changes tracked through both process and outcome evaluations. Music care integration is achieved when music becomes an essential, recognized component of the care process, with all caregivers using it intentionally to address challenges in the care environment.

IMMC is grounded in the music care approach, which always begins with the care leader’s belief that the purposeful use of music improves quality of life by humanizing care and deepening relationships. Music can be used intentionally by anyone to improve health and wellbeing for themselves and others. Music care can be implemented by all caregivers regardless of music ability. With baseline training, caregivers understand the positive and adverse effects of music as well as learn to use musical tools and strategies confidently in everyday practice.

The IMMC underpins MUSIC CARE CERTIFY , a program Room 217 has designed for any caring community who wants to embed music in a more sustainable and operational way. Within this certification program there is standardized training designed to help caregivers become more confident in using music in their day-to-day practices.

In the next blog post in this series, we’ll explore the MUSIC CARE Certification process and showcase real-world examples of organizations that have successfully integrated music into their care environments. These success stories will highlight the transformative impact of music and the real, measurable outcomes that can result when music is used thoughtfully and systematically.

Key Change Series Part 2 - Unlocking the Potential of Music Care: A Strategic Solution for Quality of Life in Long-Term Care

Wed, 12 Mar 2025 20:16:43 GMT

Health and social care leaders are tasked with making critical decisions that impact the wellbeing of both care recipients and staff. Since the COVID pandemic, we have all come to appreciate the complex challenges of providing quality care in long-term care (LTC) environments—challenges that often seem insurmountable, despite efforts to allocate resources effectively.

A few years ago, I had a conversation with a newly appointed administrator in a long-term care home who asked me, "What’s so special about music?" It was a fair question. She was new to the sector, and with so many competing demands on her time and budget, she was understandably cautious about where to invest. That day, I gave her several compelling reasons why music should be a priority: it’s cost-effective, non-pharmacological, easily accessible, and most importantly, it’s part of the human experience.

If I were to meet with that administrator again today, I’d focus on one key issue that’s at the heart of many care challenges: poor quality of life (QoL) for residents in long-term care, and how music care is a solution that can turn this around and quickly.

Here’s why music care integration to address QoL is the investment every care leader needs to prioritize:

Tangible Person-Centred Care
Funding models often prioritize medical solutions over quality of life interventions, leading to institutionalized care recipients being treated as pathologies instead of people. Music, however, is an affordable, non-invasive, and customizable tool that can enrich the QoL for individuals at any stage of life. By purposefully designed music care programming, the focus can be shifted from just managing illness to fostering meaningful, person-centered care that enhances well-being.

2. Staffing and Retention

The stress and burnout that care staff face is undeniable. Overworked and under-resourced teams struggle to meet the needs of care recipients, leading to high turnover and poor morale. Music care programs, which include self-care strategies for staff, create a calmer, more peaceful environment that can help reduce stress, improve job satisfaction, and bolster retention. Supporting staff resilience is essential in ensuring quality care for both residents and the workforce.

Safety
Safety concerns—whether physical, psychological, or environmental—are at the core of every caring community. Music care can enhance safety by reducing falls, especially during high-risk times like shift changes. Music also promotes cooperation and calm during caregiving tasks, helping care recipients feel more at ease. By incorporating mindful sound management into the environment, music helps create a safer, more comfortable space for all.
Complex Care Needs
Particularly in LTC, care recipients often face complex, multifaceted challenges—loneliness, pain, depression, anxiety, and behavioral issues. Music care offers a non-pharmacological, therapeutic intervention that addresses these needs without relying on medications or emergency room visits. By integrating music care into daily routines, the need for antipsychotics is reduced creating a more holistic approach to care.
Operational Framework
One of the biggest obstacles to music care integration is the lack of a structured framework. Without clear guidelines, standards, or expectations, music care often remains an afterthought. That’s why an evidence-based model, such as Room 217’s MUSIC CARE CERTIFY program, is critical. It promotes measurable outcomes, establishes the role of professional music care practitioners, and ensures that music care is sustainable and scalable across LTC organizations.
Awareness and Advocacy
While some care providers are beginning to recognize the benefits of music as a therapeutic modality, widespread public awareness and funding remain limited. Advocacy is needed by supporting music care education and public awareness campaigns. In this way, the evidence of music’s efficacy and especially for QoL, is brought to the forefront, making a compelling case for change that resonates with the LTC community and its decision-makers.
Training for Healthcare Practitioners
There’s currently no mandatory music care training for health and social care practitioners. While many professionals, including nurses, social workers, and recreation therapists, intuitively use music in their practice, they may not always have the tools or training to do so effectively. Providing music care skills training equips LTC staff with the confidence and knowledge to integrate music strategies responsibly and with purpose and to use it to boost their own self-care.

In every meeting I have today with LTC administrators—whether they’re in suits or sweaters—I make it clear that musical care is a viable solution for ensuring good quality of life for everyone. With the right framework, education, and investment, music can be a transformative, scalable solution that impacts everyone in the circle of care.

Key Change Series Part 1 - Revolutionizing Care Through Music: A Theory of Change

Wed, 26 Feb 2025 20:42:56 GMT

Innovative leaders in health and social care are always looking for evidence-based, scalable solutions that can meaningfully improve care. Music care is a transformative approach that’s making measurable, sustainable change in care settings.

Several years ago, the Room 217 Foundation developed a Theory of Change (ToC), a framework designed to document how a program works, why it works, and the impact it creates. ToC is a concept rooted in program evaluation from the 1990s. The value of ToC lies in its structured approach to making complex change programs clearer, more accountable, and more effective.

Room 217 had already created logic models for our various programs. ToC took us deeper—helping us think through not just the program’s activities, but the underlying assumptions, the necessary conditions for success, and the long-term benefits for all involved. Our basic assumption was simple: Music can be a powerful agent of change within a caring community. Through our research in 82 long-term care homes and 84 hospices in Canada, we saw firsthand the effects of music. Music improved people’s moods, changed the atmosphere, fostered hope, and built a sense of community among caregivers and patients alike.

The ToC process allowed us to ask: How can we measure and sustain these effects on a broader scale? This question led to the creation of MUSIC CARE CERTIFY (MCC)—a quality improvement program that integrates music into the culture of care organizations, turning music into a core, measurable component of care.

There have been clear advantages to developing a ToC. Leveraging a comprehensive program rationale has clarified our assumptions, assessed the merits of our standardized quality improvement program, and explained the activities and processes that contribute to change. We have established a shareable vision of the program and identified enablers and barriers to success we can explain to others.

We discovered that ToC design methodologies vary. Yet each method typically addresses several key areas which include:

Identifying a problem or opportunity that requires a program response, the root causes and effects of the problem and who is affected
Scoping the objectives of a program solution and the foreseen impact
Naming stakeholders who would likely be a part of the solution
Enumerating measures of success
Listing assumptions about why, in our case, we think MUSIC CARE CERTIFY will work.

The visual metaphor we used to guide our ToC was a tree. We placed the causes of the problem at the roots, the effects as branches, and then focused on the leaves and fruit as the solutions. The imagery helped us map out how music could grow within a care environment, eventually becoming a deeply embedded part of the care culture, a visible and lasting solution.

Through this process, we became even more convinced of music’s role in solving the quality of life issues that so often affect caring communities. By integrating music care systematically and sustainably—through the components of MCC—we provide a realistic, scalable solution that’s both affordable and replicable.

Imagine care settings where music is integrated into the culture, where quality of life improvements are not just hoped for, but proven. This is the future we’re building—one where music becomes a key player in revolutionizing care.

Key Change Series - Introduction Transforming Care Through Music: A Change You Can Measure

Thu, 13 Feb 2025 17:16:36 GMT

Bono once said, "Music can change the world because it can change people." Many of us have experienced how music can shift our mood, perspective, or even deepen our sense of connection. For some, it’s a song that lifts them from a low point, for others, it might bring them closer to loved ones. In healthcare settings, music can transform not only the atmosphere but also the quality of care itself.

I learned this firsthand when, during my father’s final days, my family used music to support him. We sang together to create a sense of calm, even as his medications dulled his awareness. The music allowed us to communicate and connect in a way that words alone could not. It softened the clinical nature of the hospital environment, making it a space of comfort rather than just medical procedure. Those moments had a profound impact on me, shaping my career and commitment to integrating music in healthcare spaces.

For over 20 years, I’ve been dedicated to improving care through music as part of the Room 217 Foundation. We work to empower caregivers - whether paid professionals, family members or volunteers - to use music in a way that enhances the care experience. Initially, we created music tools designed to target specific care outcomes. Over time, we expanded to include training for caregivers, helping them incorporate music into everyday practice.

Our latest initiative, MUSIC CARE CERTIFY (MCC), goes a step further. MCC is a comprehensive program that integrates music into the organizational culture of health and social care environments. By embedding music as a core component of care, we ensure it is sustained and becomes part of the organization’s long-term operations. One of the most powerful aspects of MCC is its focus on quality improvement. We don’t just introduce music into care settings—we measure its impact. Change isn’t just hoped for; it’s demonstrated and quantified.

One standout example is the Alzheimer Society Peel (ASP), the first Canadian organization to receive MUSIC CARE Certification. This community-based organization, which serves individuals with Alzheimer’s and their families, sought to improve its acoustic environment as part of a broader commitment to enhancing care. Through a series of collaborative sound-based interventions, ASP implemented four key sound goals, evaluated through pre- and post-assessments and staff surveys.

The results were compelling:

Client engagement in activities increased by 75%
Client wandering decreased by 40%
Staff stress levels were reduced by 50%

The success of this initiative underscores the tangible, measurable benefits that music can bring to care settings—improving both the experience for clients and reducing the burden on staff.

In this blog series, we’ll delve deeper into Room 217’s MUSIC CARE CERTIFY as a transformative program for health and social care organizations. We’ll explore how music is not a disruptive force, but a framework for meaningful, sustainable change. With case studies from a variety of care settings across Canada, we’ll showcase how embedding music in care culture improves quality of life for all involved. Imagine a care environment where music is always accessible, integrated, and sustained! This is the future we’re working toward.

Music isn’t just an art form; it’s a catalyst for measurable change in health and wellbeing. Care leaders have the power to make that change a reality within their organization. Over the next few months, our Key Change blog series will explore how the transformative power of music can improve the care experience and create lasting impact across Canada’s health and social systems.

Want to learn more about MUSIC CARE CERTIFY?

Come to our free, online, 45-minute Discovery session on Wednesday February 26 – 2 pm EDT. Contact Tanya for more information talbis@room217.ca

My Mum

Fri, 31 Jan 2025 13:38:42 GMT

It was two years, two months and 16 days ago that my mother was told that she had vascular dementia. The brain scans indicated she had suffered some strokes that had resulted in permanent changes to her brain. Her geriatrician suggested to her that she should consider not driving any more and that she begin to make arrangements for increased support if she wanted to stay in her own home.

I could hardly believe these words; they seemed impossible, a mistake, a joke, perhaps something that this doctor told all her patients. My mum continued to be the most intelligent person I knew. I depended on her opinions, her feedback and her perspective on almost every aspect of my life.

I knew my brother felt the same; he would take her through the minutia of his decisions, his financial planning, house purchases, and the plans he and his wife had for their children during their long weekly phone calls from Vancouver. My mum had spent one year taking care of his daughter during a year abroad in Florida where she studied dance at a ballet academy, a crucial step towards her present career as a dancer with the Stuttgart Ballet in Germany. Similarly, she took care of my own daughter when she moved up to Collingwood, Ontario to train as an elite cross-country skier with the Ontario Nordic Ski Team, racing at a national level.

My sister’s life was equally intertwined with mum’s. Her family bought a cottage in the village our mum retired to, a sleepy, enchanted summer paradise, perched on the cliffs above Lake Huron, world famous for its sunsets. We all enjoyed long summers together, taking turns hosting family dinners, entertaining, laughing, swimming and enjoying the beach. We were a family who benefitted from the commanding presence of a brilliant, captivating, beautiful and inspiring matriarch. My mother truly was the centre of our large, bustling, extremely vibrant family with her three children who adored her and nine grandchildren who considered her as their beloved “Gabby”.

I read and reread the doctor’s scrawled notes that day, with her recommendations for everything from further testing to commentary on the accompanying brain scans. I had dozens of questions: would her dementia progress quickly? Would this mean her independence was coming to an end? Should she live with one of us? What happens next? How can we help her, preserve her dignity, save her?

Exactly two days later, on a cold and dark November night at 11:00 pm, she fell on the steps to her porch after walking her little Pomeranian. This fall represented the onset of a rapid decline in just about every marker of her wellbeing. After 2 weeks in and out of the hospital she came out a very different person. She was consumed by the pain from her back injury, was extremely confused from hospital induced delirium, and on heavy pain medication. What now? My sister asked. Nursing care, the doctor responded. We had absolutely no road map for how to proceed, all of us anxious, bereft, and completely at a loss.

I cared for my mum over the next five months at our home, loving her, physically rehabilitating her, until we secured a place for her at a beautiful independent living senior’s residence in Toronto, near the neighbourhood she grew up in Rosedale. She is in a small apartment and has made some wonderful friends and receives the most loving care from the caregivers and staff. Mum has had her ups and downs, her dementia continues to progress, notably more significantly after an illness. Despite this being her greatest fear prior to her diagnosis, mum still lives a life that she values and has gratitude for, each day. She loves our visits and the continued devotion and love of her grandchildren. She has regained her hearty laugh and love of conversation she shares with new friends in her new community and she adores the twice weekly music concerts at her seniors home. She promises us that she intends to be sticking around for some time, excited to see how the lives of her grandchildren she has been so invested in continue to unfold, their careers and their romances.

Despite struggling with memory, especially short term, her vocabulary is still superior to mine as she artfully constructs her sentences for maximum impact. During my last visit with her, I had to remind her of today’s date and that she was approaching her 89 ^th birthday, but she sang an entire verse of a song from “Me and My Gal” and correctly remarked, “this is definitely Chopin” that we were listening to on her speaker.

Dementia is a cruel, cruel disease, but my advice to anyone whose loved one is suffering from it, is to remain there to witness, love and appreciate the essence that is there, within the confusion, to find that essence, be present with it, let it comfort you, and hold it dearly, with gratitude, every single day.

PATHWAYS Singing Program for Dementia Care

Thu, 16 Jan 2025 14:24:03 GMT

Music reaches deeply into all aspects of human life. It helps distract us from pain or get a better sleep. It helps us manage feelings or shifts in our mood. Music can bring order for a confused mind and provide memory stimulation. It gives us inner peace and comfort. Because music reaches us on many levels, touching the whole person, it becomes an effective means of care.

Music is considered to be a natural choice by many experts in helping people living with dementia.

Singing is particularly beneficial in dementia care because it can benefit health on many levels. Singing, as a means of music-making, is particularly beneficial in dementia care because it is a healthy and meaningful activity. Singing encourages deep breathing, increases blood oxygenation and induces muscle tension release which provides relaxation. Singing provides a point of human contact.

Room 217’s PATHWAYS Singing Program is designed to enhance the quality of life for people living with dementia by encouraging social engagement with caregivers and peers. PATHWAYS is a research-informed, targeted singing program that provides 100s of hours of repeatable, multi-sensory and interactive programming for memory care. It is ready-to-use and flexible. It can be used in 1 on 1 or group settings, delivered on a tablet or TV, in LTC or day programs, by staff, family or volunteers. PATHWAYS can be purchased in physical copies at the Room 217 store , or is available digitally on the MUSIC CARE CONNECT App .

The aim of the video series is to provide an expert-led resource that can be used repeatedly by paid and unpaid caregivers who may not be confident in leading music sessions and in particular singing programs, on their own. The video series is hosted by an experienced singer and engagement expert. Each episode uses 5 well-known songs that support the theme of the episode. The singing host invites participants to join in accompanied by the musical track. Activity booklets to support programming complement each episode. The video series is comprised of 13 episodes in three collections including Journeys, Inspiration and Season.

Pauline, a Recreation Manager at a long-term care home describes the value of using the PATHWAYS program for her residents with dementia. She notices that when participants are singing, it brings everyone together as a community, it’s a great leveller. Noone in the room is aware of who has dementia or who doesn’t, she explains, for that moment in time, everything is just normal.

Singing is an opportunity to actively engage in a form of communication where language has been affected by illness or trauma. The ability to sing is neurologically different from speech and is more instinctive than speech. Singing may also provide neurological pathways for memory retrieval as research suggests music pathways may still be intact in dementia.

Pauline says her favourite part of the PATHWAYS program is how it helps residents express emotions. She shares that participants shed tears recalling memories and tears of joy. Pauline tells us how it makes participants smile, laugh and connect with each other through music. Singing is a meaningful activity that may provide emotional connection and intimacy, connecting people living with dementia to prior experiences.

Pauline describes the power PATHWAYS has to encourage focus and concentration in the participants. They are fully engaged on the singing program, focused on the music itself. “It was like a peace that had come over the room”. Singing retains its value through all stages of the dementia trajectory. In early stages, singing is a viable and recognizable intervention as cognitive capacities are becoming lost.

Health care providers and family caregivers know that there is something unique about musical responses in individuals living with dementia. There may be severe cognitive loss and limited communication abilities, but the person with dementia may be able to identify a familiar tune. And research studies (see references below) verify these examples.

PATHWAYS is currently being used in over 900 care settings across Canada. 2025 promises a refresh of our program with 12 new episodes due to be released later this year.

References

Baker FA, Lee Y-EC, Sousa TV, Stretton-Smith PA, Tamplin J, Sveinsdottir V et al. Clinical effectiveness of music interventions for dementia and depression in elderly care (MIDDEL): Australian cohort of an international pragmatic cluster-randomised controlled trial. The Lancet Healthy Longevity 2022; 3: e153–e165.

Bleibel M, Cheikh AE, Sadier NS, Abou-Abbas L. The effect of music therapy on cognitive functions in patients with Alzheimer’s disease: a systematic review of randomized controlled trials. Alzheimer’s Research & Therapy 2023; 15: 65.

Hofbauer LM, Ross SD, Rodriguez FS. Music‐based interventions for community‐dwelling people with dementia: A systematic review. Health Social Care Comm 2022; 30: 2186–2201.

Ito E, Nouchi R, Dinet J, Cheng C-H, Husebø BS. The Effect of Music-Based Intervention on General Cognitive and Executive Functions, and Episodic Memory in People with Mild Cognitive Impairment and Dementia: A Systematic Review and Meta-Analysis of Recent Randomized Controlled Trials. Healthcare 2022; 10: 1462.

Myrenget ME, Rustøen T, Myskja A, Småstuen M, Rangul V, Håpnes O et al. The effect of a music-based caregiving intervention on pain intensity in nursing home patients with dementia. A cluster-randomized controlled study. Pain 2024. doi:10.1097/j.pain.0000000000003156.

Sousa L, Neves MJ, Moura B, Schneider J, Fernandes L. Music‐based interventions for people living with dementia, targeting behavioral and psychological symptoms: A scoping review. Int J Geriat Psychiatry 2021; 36: 1664–1690.

Van Der Steen JT, Smaling HJ, Van Der Wouden JC, Bruinsma MS, Scholten RJ, Vink AC. Music-based therapeutic interventions for people with dementia. Cochrane Database of Systematic Reviews 2018; 2018. doi:10.1002/14651858.CD003477.pub4.

Vidas D, Carrasco R, Kelly RM, Waycott J, Tamplin J, McMahon K et al. Everyday Uses of Music Listening and Music Technologies by Caregivers and People With Dementia: Survey and Focus Group Study. Journal of Medical Internet Research 2024; 26: e54186.

Celebrating Our Community of Practice

Fri, 29 Nov 2024 16:27:06 GMT

Room 217’s MUSIC CARE CONFERENCE brings together healthcare professionals, music therapists, musicians, educators, students and caregivers to explore the profound impact and power of music in care.

This year, Wilfrid Laurier Faculty of Music was the lead and host partner of our 16 ^th conference with Concerts in Care , Metalworks , SoundsUnite and Research Institute for Aging involved as secondary partners.

From the main stage, delegates experienced a mix of touching music care cameos by professional and community musicians and ensembles, keynote presentations by leading industry experts in the field of music and health and two engaging workshops aimed at building caregiver confidence using music. The theme - music across the lifespan – was brought to life by a riveting concluding performance by Canadian gospel and blues icon, Jackie Richardson.

MUSIC CARE CERTIFY stories from organizations, individuals and schools were featured in Lunch and Learn session. The conference is a rich opportunity to meet people who are passionate about using music in their daily practice and to expand our music care community.

This year, there was a significant increase in the number of caregivers at the conference. The work of frontline workers does not go unnoticed, and this day apart offers an opportunity for caregivers to refuel their tanks, share meaningful stories and gain new ideas and strategies for the use of music in care.

This sentiment is reflected in the words of some of the delegates.

Conferences are a great opportunity to refresh, reinspire and reconnect. There’s also great research and innovation happening in the world of music and wellness!
I wanted to share what an amazing experience the conference was! I found every session to be either full of knowledge, skills building and/ or incredibly inspirational! I left with a brain full of knowledge and ideas and a heart full of inspiration.
A beautiful conference that hit exactly the right balance of learning, connecting, and, well, loving. So important in these days and times.
I just wanted to tell you how much everyone of our team members loved the conference. It was so inspirational! We were able to learn, network and be joyful.
Thank you for hosting such a wonderful event. It was truly the best conference of the year for me....and I attend a lot.

Key highlights included our inspiring keynotes from Brian Harris , CEO of US-based MedRhythms , focusing on music and neurologic rehabilitation, and Emily Foulkes , from the UK, a practitioner and researcher in singing for wellbeing. Workshop were deeply appreciated and topics ranged from songwriting for dementia, using ukuleles in care, from spirituals to gospel music, using songs to express hope in care, using music as direct service workers, making connections through community music and live music as a universal language of memory. The research track was popular with emerging research from music therapy, community music and Room 217 presented.

For me, our conference brings opportunities to network. Professionals from diverse backgrounds connect, share experiences, and collaborate on future projects. This networking aspect is crucial for fostering a community of practice that advocates for the integration of music in healthcare. Room 217 continues to play a vital role in leading and developing partnerships towards this end.

For more information on the Music Care Conference and to stay updated on future events, visit www.musiccare.org/conference .

Social Prescribing in Canada – Part 2

Wed, 16 Oct 2024 18:49:25 GMT

A key takeaway for me at Canada’s first Social Prescribing Conference is that we’ve only just begun. Every great movement must begin. By beginning, we become. Admittedly, my colleagues and I attended the conference to see where we might contribute as an arts-based community organization. While we didn’t receive pat answers or direct pathways, we met people, engaged in conversation and began to think about how we can be involved. In retrospect, I think that was the point of the conference. Beginning, exploring, connecting, conversing, becoming.

We heard about several compelling examples of social prescription in Canada. Dr. Grace Park and her team in the Fraser Health Care Authority in BC have developed a systemically integrated SP approach for older adults. The partnership between Fraser Health, the provincial government, United Way BC, BC Divisions of Family Practices, Fraser Health Teams, Fraser Health Patient and Family Advisory Council and other nonprofit community organizations began in 2019 and is a leading model. Community Connectors play a critical role in the success of implementation and hold the community knowledge and put the legs on referrals by linking individuals to programs.

Healthy Aging Alberta has developed a tool for SP assessment and case management used by a variety of professional and volunteers. Based on social determinants of health, this tool looks at seven domains based on Alberta’s health aging framework: physical health, safety and security, social engagement, physical environment, personal wellbeing, mental health and social supports. This tool is being used in Edmonton to support older adults in living in community.

There is a SP student movement in Canada. In 2022, the Canadian Social Prescribing Student Collective was establishing joining a global network of students champions in six other countries. The objective of this group is to call for action by students, staff in health care and community organizations and faculty/administration at postsecondary institutions. The Collective believes their efforts will shape the social prescribing movement and the future of our health system.

We also learned that SP is extended to family caregivers. Various provincial family caregiving organizations are developing SP pathways to build resilience, social connectedness, decreased reliance on healthcare services to support family caregivers with their overwhelming responsibilities, financial strain and system navigation. Family Caregivers of British Columbia have caregiver support specialists provide wellness planning, healthcare navigation and community connections for family caregivers.

The elephant in the room for most of the conference is how SP is funded in Canada. It appears as though the CISP is strategically encouraging multiple expressions of SP to bubble up locally, having the communities themselves figure out implementation pathways and funding models. And perhaps this is the way of influence, bottom up, upstream programming that creates a demand and groundswell with compelling results that governments will not be able to deny. The recent CISP report claims that for every $1 spent on SP in Canada, the ROI is $4.30.

And so we think about the arts in this movement. Our colleagues from the Mississauga Arts Council were also there, and along with us, were learning and exploring and becoming. They have launched a 2-year pilot with their ArtsCare SP program to benefit mental health of individuals living in Mississauga.

While historically our work at Room 217 has been and will continue to be supporting caregivers with music care tools, training and standards to improve care outcomes, we have been developing a music wellness model. Salutogenic or preventative in approach, we define music wellness as interacting with music in a way that contributes to holistic health and flourishing. Our research shows this happens in specific ways. So we may very well have several contributions to make as we consider our intersection with the social prescription movement.

In my mind, music as social prescription is a pure bullseye. Music by its very nature is connective. Music contributes positively to an individual’s state of being and can catalyzes improved mood. Doing music contributes to health and wellbeing such as increased oxygenation, cross-lateral brain activity. Musical engagement improves quality of life in every human domain.

So we continue to explore the application of music care and music wellness within the arena of SP. Stay tuned.

Social Prescribing in Canada – Part 1

Wed, 02 Oct 2024 19:33:16 GMT

Social prescribing (SP) is a practice I became familiar with at our 2019 Power of Music Conference in Nottingham, England. At the time, the National Academy of Social Prescribing (NASP) had just been formed.

The NASP defines SP as connecting people to activities, groups and support that improve their health and wellbeing. SP links people to non-medical supports in their community to address issues such as loneliness, debt or stress due to financial pressures or poor housing.

Since then, the NASP story has been impressive including 12% reductions in GP appointments, 15-20% reduction in secondary care costs, measurable improvements in wellbeing, physical and mental health, and an ROI of £3.50 for £1 invested. A key achievement has been to set up a healthcare integration program to support health and care providers and partnerships to embed social prescribing.

So it was with keen interest my colleagues and I attended Canada’s first Social Prescribing Conference held in Toronto at the end of September 2024. Convened by the Canadian Institute for Social Prescribing (CISP), a national collaboration hub anchored by the Canadian Red Cross, several hundred early adopters and curious folks like us gathered. The energy and excitement was palpable.

Dr. Kate Mulligan , the Scientific Director and champion of social prescribing in Canada set the stage, proposing SP as the pathway from health treatment to wellness creation. The CISP encourages models that connect people with healthcare, social services and community supports to enhance health and wellbeing. The goal of CISP is to bring together a diverse network of health practitioners, researchers, academics, system leaders, funders and others to share learnings, mobilize knowledge, build evidence and influence policy.

The opening speaker, Elder Dr. Albert Marshall from the Mi’kmaw First Nation in Nova Scotia set the stage by sharing knowledge and wisdom of his people, including ‘two-eyed seeing’ - seeing the best of traditional Indigenous ways and the best of current western medicine. Applied to SP, we understand that the clinical medium saves lives and the social medium makes life worth living.

A variety of panels, workshops and posters provided content for the conference. Notably, SP leaders from Singapore, Brazil, United States, England, and Australia shared where they are at with social prescription. Clearly, this global movement, supported by the World Health Organization, is underway. The WHO has developed a Social Prescribing Toolkit which outlines steps required to introduce SP and includes sample materials which can be adapted to the local context.

In the final plenary session, we considered the future of healthcare in Canada. While there are no pat and easy answers, SP is seen as a response to ‘sick care’ through upstream preventative programming. It requires a shift, from a medical model where power is held and directed and the status quo is maintained to a social model where power is shared and everyone sees themselves in it. As Jodeme Goldhar, co-founder of the Foundation for Integrated Care Canada stated, ‘SP requires a shift from egocentric to ecocentric thinking.’

A key takeaway for me is that SP requires a new way of seeing, a new collective mindset. SP is all about working together in community, leveraging new ways of being and doing, working in partnership. The endgame may be a road to recovery for the Canadian healthcare system, were we live in less isolated and more connected communities optimizing health and wellbeing for all.

If you want to learn more about SP in Canada, then subscribe to the CISP newsletter for ongoing updates, resources, and opportunities.

Men’s Musicking: Addressing Social Isolation and Emotional Expression in Men

Fri, 13 Sep 2024 17:57:13 GMT

A growing concern among both recreational and clinical staff in long-term care (LTC) is the health and wellness of men in care. Health professionals have long recognized that men, both in and out of care, tend to experience lower overall health profiles compared to women. RESEARCH widely acknowledges that sex and gender intersect with factors like race, ethnicity, socioeconomic status, disability, and age to shape individual health outcomes. Notably, men face unique challenges when it comes to health and wellness. Globally, men are outlived by women in all settings, a phenomenon known as the male– –female health-survival paradox The Male-Female Health-Mortality Paradox | SpringerLink .

This disparity highlights the need for gender-specific approaches to healthcare, as men’s health is increasingly recognized as a public health concern. Researchers and policymakers are working to understand the roots of these inequalities, with many pointing to social norms and behaviors formed in adolescence. We are familiar with stereotypes about men engaging in higher-risk activities, from motorcycle riding to nicotine addiction. However, one of the most significant factors affecting men’s health and longevity is their tendency to have fewer and less robust social connections compared to women. Women generally participate in social forums where they express emotions more freely, while men, historically, have been less likely to depend on social groups or engage in regular emotional expression. This can lead to isolation, which negatively impacts both mental and physical health.

One promising approach to addressing social isolation among men is through men’s musicking. Music has always provided a way for men to come together—whether through singing, playing instruments, or participating in music listening groups. From male choirs like the Maesteg Choir in Scotland, to garage bands playing for the sheer joy of it, music offers a safe, non-threatening environment for men to gather, share memories, and express emotions, even if only subtly.

Our September webinar presenter and partner, Gertrude Letourneau, shared a powerful story from her work in a long-term care home. One resident, a veteran, asked for permission to sing in his home language, which happened to be German. Being deeply sensitive to the other veterans he lived with, he began to sing which prompted an incredible emotional release of grief, tears, regret, reflection and sorrow.

Menno Place, a recent graduate of our CERTIFY for ORGANIZATION program, discovered through their own research that hosting a vinyl record listening hour provided a powerful way to engage self-isolating men. This nostalgic activity brought men out of their rooms and into a safe, non-judgmental space where they could share memories, relive the joy of past entertainers, and reflect on times gone by. The program bridged generational gaps, allowing them to swap stories with the younger caregivers.

Linda Weatherly, Manager of Therapeutic Recreation and Volunteer Services at Menno Place in Abbotsford, British Columbia, recalled that some conversations became quite lively, even veering into “racy” territory at times. However, this openness was precisely what was needed—creating a space where the men felt comfortable being themselves and expressing what they needed to.

The program, known as Men’s Musicking, became much more than a listening hour. It was a catalyst for cognitive stimulation, sparking memories and conversations that promoted social interaction and emotional expression. The long-term effects of this initiative remain to be seen, but for now, we can applaud the creative and innovative leadership of people like Linda, who are using music to address some of the most pressing concerns in healthcare today.

Music and Social Emotional Learning

Wed, 04 Sep 2024 17:47:02 GMT

As Room 217 broadens its reach to include training educators in both elementary and secondary schools, our mission has expanded to help address social and emotional learning (SEL) outcomes through the power of music. SEL plays a crucial role in shaping resilient, purpose-driven, and socially successful students, and music is an ideal medium to support this essential area of human development.

Social and emotional learning encompasses a set of skills and competencies that allow children to develop healthy and supportive relationships by fostering positive self-perception, empathy for peers, effective collaboration, and a strong sense of identity. Through SEL, children learn to identify and manage their emotions in healthy ways, build personal resilience, and develop coping strategies. Additionally, SEL aims to amplify students voice, advance equity, and strengthen partnerships between teachers, students and their families. RESEARCH suggests that SEL is integral not only to academic success but also to personal well-being, mental health, and overall life satisfaction.

Educators have long recognized that music serves as a powerful conduit for students to identify, express, and connect with their emotions. A wide range of programs and platforms now exists to help teachers integrate music with mindfulness activities and breathing practices, creating a calm and focused learning environment. For example, Save The Music Foundation, in partnership with the Center for Arts Education and Social Emotional Learning, offers a professional learning program specifically designed to intersect music with SEL Student Empowerment Through SEL in Music Education (savethemusic.org) . —empowering students through music education. Programs like these equip teachers with the resources to help students build agency and self-efficacy by centering students' lived experiences, voices, and cultural narratives.

Engaging with music—whether through creation, performance, or listening—allows students to connect with the art form in meaningful ways, fostering skills that extend beyond the music classroom. Music helps children and youth draw connections between their own lives and the shared threads of the human experience. Participation in music-making, whether in a group performance or a solo endeavor, can build self-confidence and develop the collaborative skills necessary to achieve common goals. Additionally, listening to lyrics, whether from contemporary songs or music of the past, can help students feel less isolated as they navigate the complexities of growing up, understanding relationships, and coping with change, crisis, heartbreak, and loss. Teachers who intentionally integrate music into their educational settings can effectively embed and sustain SEL practices within their classrooms.

Having been a music teacher myself, I was always aware of the dual role music played in my students' lives. The curriculum I followed was designed to be purposeful, challenging, and exciting, offering a refreshing departure from the rest of their school day. But beyond that, it provided opportunities for students to develop self-awareness, self-management, social awareness, relationship skills, and responsible decision-making. Music demands goal-setting and perseverance, yet it also brings joy. I cherished the moments when my students lost their self-consciousness, whether playing drums in a group, singing together, or conquering a challenging task I had set for them. These experiences often fostered a sense of belonging, mutual respect, and healthy collaboration, where every student felt a sense of agency.

The skills developed in the music classroom are highly transferable to life beyond school. Over my 25 years in education, I have observed a decline in discipline and determination among students. I recall one student who initially wanted to quit learning the ukulele because the strings hurt her fingers. When I encouraged her to persevere, explaining that the discomfort would pass as her fingers grew stronger, she stormed out of the classroom. However, as the weeks went by, my students began to wear their hardening fingertips as badges of honor, a sign that they had been practicing at home and were willing to endure minor discomforts for the sake of progress. Eventually, the discouraged student came around, mastering a beautiful song that we performed together for the school community. The pride she felt in overcoming adversity was evident, and this experience served as a powerful lesson in resilience.

In today’s culture of quick fixes and immediate gratification, opportunities for developing self-discipline are becoming scarce. The ukulele became more than just an instrument for my students; it was a source of comfort, a medium for expressing their experiences, and a symbol of personal achievement. It represented a feather in their cap of strengths and abilities, a tangible reminder of their capacity to overcome challenges.

Music offers educators a valuable tool for fostering SEL in their students, but beyond that, it is one of the most deeply rewarding and purely enjoyable ways to experience what it means to be human. Music connects us to others in profoundly human ways and equips us with the skills needed to thrive in today’s world. As students and teachers step into a new school year, may music fill their hearts, lives, and minds with the potential to bring out the best in themselves, their well-being, and their relationships with others.

Music and Social Health in Children

Thu, 08 Aug 2024 13:16:58 GMT

Room 217 is pleased to partner with McMaster University Health Sciences to provide a research practicum for students each year in music and care. This blog was written by one of those students.

In the midst of the COVID-19 pandemic, I recall dropping off my brother for his first day of kindergarten, feeling a mix of uncertainty and hope. The last thing on my mind was the challenges he would face in making friends in this new environment. For what felt like years, he came home with a barely touched lunch and a growing reluctance to return to school each morning. However, a turning point occurred in second-grade, when he excitedly came home clutching a recorder in his hand. With confidence, he played his favourite tunes learned from music class. His passion and hard work caught the attention of his teacher, earning him the role of a valued “helper” in the after-school recorder club. This experience became a catalyst for his personal and social development. Through music, he created meaningful connections with a diverse group of students. These friendships extended beyond the music room to shared lunch times and playdates. Seeing this growth, I came to realize the remarkable power of music in breaking down social barriers and nurturing genuine bonds among children. This anecdote echoes the importance of music education in school curriculums, aligning with findings from the literature.

In Mansfield, Ohio, a teacher shares her journey of bringing music into her school curriculum to strengthen social bonds among students and the community. Starting from scratch, she set up the school’s music department with help from community donations and grants. What made her approach stand out was her focus on what her students loved musically, incorporating songs like “This is Me” from the movie The Greatest Showman and “Thunder” by Imagine Dragons.

This not only made learning more fun but also fostered inclusivity, encouraging students to share their own music compositions with each other. This led to the creation of “ Mallet Madness ,” a school-wide event that brought the community together through music. The event was special because they replaced ticket sales with a food drive for local pantries. Through this process, students learned about engaging with each other and supporting their community through music, gaining lifelong skills applicable to broader contexts in their experiences.

This is just one of the many ways music education supports social connections among children. Research in this realm suggests other effective methods. In general, children benefit from all types of classroom music programs , including improvisation, performance, and exposure as background music, leading to positive outcomes such as improved emotional expression, increased empathy and reduced aggressiveness. These traits are essential for developing effective communication and conflict resolution skills, crucial to building healthy and lasting social relationships. In third and fourth-grade classrooms, researchers found that exposure to 10 months of group music lessons , which included learning to play the ukulele and singing with peers, led to a greater ability to understand and express concern for others’ well-being, and improved overall prosocial skills. I shared a similar experience during my time working with the Fountain of Uke program in Hamilton, which incorporates similar aspects of using the ukulele in classroom music lessons. I taught elementary school children how to play and sing along to “If you are happy and you know it” on the ukulele. Together, we performed for older adults in the community, sparking intergenerational conversations through music. I learned that music transcends time, language, and culture, allowing for the initiation and strengthening of all social bonds. While I’m not actively in touch with this group anymore, whenever I replay the playlist of the songs we shared, it brings back memories of our time together. Furthermore, this experience inspired me to encourage my brother to teach our parents how to play the recorder, resulting in greater trust and closer bonds between them.

While many attempts to incorporate music into early education can yield positive outcomes, some strategies prove more effective than others . For instance, children taught by a specialist teacher using an interactive method , where the teacher played the songs live, showed more positive social changes compared to those taught by a non-specialist teacher who passively played recordings of songs. Thus, the way we choose to use, teach, or interact with music affects the results we see in children. One thing to keep in mind is that current research focuses on assessing specific outcomes related to music programs, often overlooking broader community impacts. Still, developing these social and emotional skills are essential to building strong and enduring connections within our communities.

Reflecting on my experiences, I am optimistic about the opportunities music offers in early education. My journey, like many others’, highlights the positive impacts of music on personal growth and social connection from a young age. As a university student, I continue to connect with my peers through our shared interests in music, whether it is through listening, playing, or attending concerts. Embracing music in early education sets the stage for an interconnected future for children and communities alike.

Music and Mental Health in Children

Thu, 08 Aug 2024 13:10:13 GMT

Room 217 is pleased to partner with McMaster University Health Sciences to provide a research practicum for students each year in music and care. This blog was written by one of those students.

In today’s fast-paced world, people from all walks of life, including children, university students, and working adults, experience a great deal of stress and anxiety, affecting their mental well-being and overall quality of life. Unfortunately, mental health still remains overlooked. Yet, it profoundly impacts how we think, feel, and interact with our environment. According to a report by the National Research Council and Institute of Medicine , each year, one in five children experience some form of diagnosable mental health condition, with many more children experiencing milder but still significant emotional and behavioural problems. Therefore, prioritizing mental health is just as important as caring for our physical well-being. Parents and early educators play vital roles in nurturing children’s mental health and well-being, as well as equipping them with essential skills to cope with challenging times.

Mental health issues can affect children at any age and manifest differently for each individual . However, there are situations that place some children at greater risk than others , such as coming from marginalized backgrounds like children of immigrants, refugees, and indigenous families, or having experienced or witnessed trauma and abuse. As such, there are many ways to approach nurturing mental well-being from a young age, such as building safe home environments, stable relationships, and teaching children problem-solving skills. However, one of the most nuanced and valuable tools in this realm is the use of music. The great thing about music is that it is an effective non-pharmacological intervention with minimal to no side effects. Beyond its harmonious melodies and lively rhythms, music holds the power to impact mental well-being by offering avenues for stress reduction and emotional expression. Scientifically, music activate the brain in several beneficial ways . It triggers the release of dopamine, a molecule that boosts feelings of overall well-being. It also stimulates the limbic system, which is responsible for functions of emotional processing . As a university student dealing with high-stress situations regularly, I create curated playlists to express and cope with my inner state of being. For instance, I have calm ballad playlists that reflect my feelings of emptiness or sadness, as well as upbeat pop playlists for when I want to hype myself up.

Children can be perceived as overly energetic. While this is typically considered normal and healthy. It is also important for them to learn to regulate their energy levels as they mature. Fortunately, music serves as an effective tool for this purpose, eliminating the meltdown that follows an initial unsuccessful verbal attempt to tell them to “calm down.” Research has shown that children respond positively to slow, relaxing, and low-pitched music during periods of distress and overstimulation. If you’ve ever sung a lullaby to a crying baby, you can imagine how soothing and calming this type of music can be for them. This strategy can be used both in anticipation of and in response to stressful situations. For educators, it could involve playing calming music after a stressful math quiz. For parents, it might mean playing similar music before bedtime or during a long car ride. You can explore this approach using a curated playlist from Jooki , a company specializing in creating safe and accessible audio content for children. Generally, songs that are predictable and repetitive are more effective in promoting sleep and relaxation. However, factors such as age, culture and individual preferences can influence which songs are most effective for each child.

Moreover, music can help children in articulating and managing a wide range of emotions they might experience for the first time, such as feeling overwhelmed, anxious, or upset. Since music is a non-verbal medium, it can bridge the gap in emotional expression for children who have not yet mastered their language skills. Listening to music allows children to be in touch with their emotions and connect with the feelings conveyed in the song through its tone, tempo, pitch, and lyrics without needing to actively articulate them. Furthermore, singing and moving along to songs offer an additional outlet for children to respond to their emotions. Singing engages both the body and mind, helping with the release of tension and pent-up energy. It serves as a form of self-expression, allowing children to safely and creatively express their emotions. A child’s ability to manage their emotions is closely linked to their immediate and long-term mental health and well-being.

With that said, the key aspect of music is its accessibility and enjoyment for everyone, in all forms. Whether it is through formal music education or simply listening to the latest tunes, integrating music into a child's life can significantly contribute to their mental health and well-being. While it may not address all of a child's mental health needs, it is crucial for educators and parents to encourage and support the various ways in which a child can engage with and connect through music.

Playing the Recorder as Respite

Fri, 26 Jul 2024 12:57:31 GMT

Many of us, no matter where we grew up, share the experience of learning to play our first instrument; this first foray into musicianship most often began with the recorder. Those classrooms a long, long time ago, in an era before the internet, before digital mixing, before pianos, clarinets and synthesizers, were where we were introduced to the recorder. Simple and relatively cheap to produce, a bored piece of boxwood, How recorder is made , this instrument is easy to carry around and extremely versatile due to its various sizes (alto, tenor, soprano, bass) . As an adult I have a great love and appreciation for the recorder, strongly disagreeing with the maligned reputation it has garnered over the years.

Despite its association with beginner music classes, the recorder’s sound can be haunting, melancholic, bright, sweet, and tuneful. As a long-time music educator, I’ve witnessed the eye-rolling of colleagues, the closing of doors, and the shock and distress of parents when it comes to the recorder. Yet, its rich history and timeless sound make it worthy of respect and appreciation.

The recorder has origins in the Renaissance and Baroque periods and was esteemed by royalty as early as King Henry IV of England in 1388. It was featured in numerous compositions by greats like Handel, Beethoven, and Vivaldi and Bach . Listening to these pieces can help us appreciate the recorder's merits and its historical significance.

Learning an instrument like the recorder allows you to create music without needing extensive lessons or hours of practice. It’s a delightful personal hobby that can provide solace and redirect the mind from anxiety. Engaging in music-making can reduce cortisol, the stress hormone, and produce endorphins that promote calmness.

Recently, a dear friend informed me that the recorder is making a comeback among adult players. This is a long time coming, in my opinion. One of the reasons I love the recorder is its simplicity. It doesn’t require the complex embouchure of the flute or the reed maintenance of the oboe or clarinet. It’s easy to play, making it highly satisfying to learn.

Playing an instrument requires full attention, becoming an exercise in mindfulness. Positive psychologist Mihaly Csikszentmihalyi describes a "flow state" as being completely absorbed in a challenging but doable task. Achieving this state through playing the recorder can lead to feelings of pleasure and accomplishment.

Personally, I have found that during the most stressful chapters in my like I have turned to playing one of my simple instruments, learning a new song and taking time out of my worrisome state to be fully immersed in the music. It has calmed my mind and given me something incredibly absorbing and enjoyable to focus on, allowing me respite from anxiety and negative or worried thoughts.

If you want to use music as distraction with the recorder or any other simple instrument, here are 3 ways to integrate it into your wellness routine.

Daily Practice

Set aside at least 15-20 minutes each day for practice. Consistency is key to improvement and reaping mental health benefits.
Use this time as a form of mindfulness, focusing solely on your playing.

Music Meditation

Combine recorder or another simple instrument like the guitar or ukulele with meditation techniques. Play slow, soothing melodies while concentrating on your breath.
Use music as a background for guided meditation or relaxation sessions.

Joining a Community

Connect with others who share your interest in music. Join local recorder groups or online forums.
Playing music with others can enhance your sense of connection and provide additional motivation and support

Learning the recorder is not just about mastering an instrument; it's about nurturing your mental health and finding a creative outlet for expression. Through consistent practice and engagement with music, you can experience significant improvements in your overall well-being.

Music for Social Connection

Thu, 11 Jul 2024 15:20:10 GMT

We all know that music makes us feel great. Listening to our favorite tunes can relax us, make us want to dance, evoke pleasurable states of mind, spark our emotions, intensify social bonding, and bring back fond memories. A 2021scholarly REVIEW of literature on the effects of music confirms that what we perceive as good music significantly contributes to psychological well-being. Music exerts various physiological effects on the human body, mediated via the autonomic nervous system (ANS). It can induce changes in heart rate, respiratory rate, blood pressure, electrodermal skin conductivity, muscle tension, and peripheral temperature (Blood and Zatorre, 2001; Ferreri et al., 2019; Salimpoor et al., 2011). Chills evoked by highly pleasurable music are physiological markers of intense ANS activation (Mori and Iwanaga, 2017). Listening to music we love can increase cerebral blood flow, stimulating the brain's reward centers and releasing dopamine, the ultimate feel-good hormone. One STUDY even found that music stimulates opioid release, carrying with it the potential for pain relief.

But what about the feel-good impact of creating music? The physiological, cognitive and emotional impacts mentioned above are even more impressive when one takes part in music-making, themselves. I'm not talking about the job satisfaction you might feel from being a member of the Metropolitan Opera, the Berlin Symphony, or Taylor Swift’s touring band. Just being part of a local community choir, drumming group, or a Friday night line dancing class—where the boot stomps and hand claps are all part of what sounds great to your ears—can make your heart burst with joy.

Music performance requires meticulous motor control where timing, sequence and spatial organization are needed to play an instrument and follow the designs of musical rhythm. My teammate and colleague at Room 217 finds intense joy, satisfaction, and delight playing in local symphonies and orchestras, both professionally and on an amateur level and despite long rehearsal hours and utterly grueling demands, it’s sheer, unparalleled fun for her. Intense work schedules and life responsibilities, don’t stand in the way of an opportunity to play instruments, forge friendships, and have the best Friday night imaginable. It comes down to her and her flute, piccolo or saxophone, and her orchestra mates all being part of something larger, better and connected through making music.

From time immemorial, music has brought people together in ceremonial and spiritual places, for enjoyment, concerts, and performances. This has always required people to come together for the creation and appreciation of music. Before recordings, the only way to experience music was live and usually involved connecting with others. Our primal response to music is one of safety and comfort, from an evolutionary perspective, contributing to our survival. Perhaps it still does. We are experiencing an epidemic of social isolation and loneliness. The era of COVID-19 certainly didn’t help, but it did condone the habit of people retreating into their own spaces after a long day of work, alone with the company of our devices. Even in those dark days of isolation, music served as a tool for connection during the lockdowns of the pandemic as it gave people fanbases and communities to be a part of through social media. Music could unite people even when coming together was forbidden. I’m hoping, however, that the distant call of the drum, with its compelling rhythms, calls people back to come together in music once again.

Being part of a collective is always a soul-affirming experience, but when the effort at hand is music, there is an even more sophisticated level of connection. The acts of keeping a beat and singing in harmony require listening, synchronizing, and interacting subtly and deeply with others. RESEARCH indicates that there is a neurohormonal reaction created with interpersonal synchrony that releases endorphins, another feel-good hormone. This element of purposeful cooperation increases trust and allyship, fundamental factors in the evolutionary success of humankind and the development of social stability.

Oxytocin, the "love drug" that our brains release, is found at higher levels in singers, both professional and amateur. This bonding neuropeptide likely contributes to the bonding experience; no wonder we sing lullabies to our babies at night.

Returning to my days of learning to be a yoga teacher, I was told that singing opened the throat chakra, known as the Vishuddha, the fifth chakra in the body. When we sing, we strengthen our efforts to communicate our feelings, emotions, and thoughts with confidence. Our vocal cords vibrate in our throat when we sing, and these sound vibrations are thought to clear blockages in the throat chakra, easing the way to smoother self-expression. Our voice is an instrument of self-expression and creativity, and an open throat chakra is conducive to reducing stress.

Music has the potential to strengthen bonds in our society, helping us feel connected to our community and all of humanity. As the childhood song aptly tells us, "The more we get together, the happier we'll be." Joining your local choir, guitar or ukulele club, drumming circle, or recorder club could make you happier, create connections, ease your loneliness, give you the excuse for a fun night out, and leave you more fulfilled than you could ever imagine.

Music and Sleep

Wed, 26 Jun 2024 18:57:18 GMT

It seems everywhere we look lately, sleep is being touted as the number one protective factor contributing to our overall wellness. Helping to control stress, healthy aging, injury prevention and more, sleep can no longer be seen as something we can negotiate with, casting aspersions on those that fully indulge in the nightly pleasure; it’s a necessity. In fact, poor sleep habits have been linked to chronic illnesses such as heart disease, obesity, high blood pressure, diabetes, stroke, depression and kidney disease. Health practitioners and experts are unanimously in agreement with the vital importance of sleep’s impact on neurologic function and cognitive endurance throughout life.

I haven’t always enjoyed my current nightly visitations from the sandman to the extraordinary regularity that I am blessed with now. Over the course of my life, I’ve struggled during times of stress, hormonal fluctuation like pregnancy, monthly cycles and perimenopause. Lack of sleep is something that I do not want to tangle with; I simple cannot cope with an abbreviated night of really good zzzz’s.

My personal experience is to consult with the experts as soon as my shut eye is threatened by interruptions of tossing and turning and get some solutions embedded in my routine (if you’ll pardon the pun). Now there are many solutions that I have been introduced but one of my solid standbys that I have discovered is supported by hard science, is music.

My first experiment with music for sleeping was a gift from a visiting professor friend of mine from the University of Toronto who brought me a CD created by a brilliant researcher, and music and health expert, Dr. Lee Bartel. This collection of sleep sounds and gentle music was intentionally created to lull the listener to sleep. My husband and I would be softly carried away to sleep throughout my pregnancy and after the birth of our firstborn.

Since that evolutionary brush with the soporific capacity of just the right music, there have been a plethora of music apps, YouTube channels and other streaming platforms which now feature a variety of music, specifically created to help you drift off and fast! One of my favourite collections is found on our own MUSIC CARE CONNECT app available on Google Play and the Apple Store.

What the Experts are Finding

Research has shown that music can have a profound effect on our sleep quality. Listening to calming music before bed can help slow down the heart rate, reduce anxiety, and prepare the body for a restful night’s sleep. Recent research found that certain types of music, particularly those with a slow tempo, low pitch, and no lyrics, can promote relaxation and help people fall asleep faster and stay asleep longer. In fact, one study found that the therapeutic use of music was effective in addressing insomnia in adults. This is an important finding in supporting the reduction of medication consumption and pharmacotherapy.

5 Ways to Incorporate Music into Your Sleep Routine

For my own personal bedtime routine, I begin by listening to relaxing jazz about an hour before I go to sleep, accompanying my winddown routine. As I get closer to bedtime, I switch to ambient sounds or “sleep sounds” that lull me into a deeper state of relaxation. This gradual shift in the type of music helps me transition smoothly from wakefulness to sleep.

Here are 5 ways you can begin to incorporate music into your sleep routine.

Create a Sleep Playlist: Choose music that is calming and soothing. Classical music, ambient sounds, or specially curated sleep playlists available on music streaming platforms can be a good start.
Consistency is Key: Make listening to your sleep playlist a nightly ritual. Consistency helps signal to your brain that it’s time to wind down and prepare for sleep.
Volume Matters: Keep the volume low. The music should be just loud enough to be heard without being disruptive.
Limit Distractions: Make sure other distractions are minimized. This might mean turning off notifications on your devices or using a dedicated music player instead of your phone.
Set a Timer: If you prefer to fall asleep in silence, set a timer on your music player so it turns off after a certain period.

If you’re struggling with sleep, consider adding music to your nightly routine. It’s a simple, non-invasive, and enjoyable way to improve your sleep quality. And remember, sleep is not a luxury—it’s a necessity for a healthy, balanced life. So tune in, wind down, and let the power of music guide you to a restful night’s sleep.

The Power of a Mantra: A Journey into Sound and Spirit

Thu, 13 Jun 2024 13:39:12 GMT

I first learned the power of a mantra while doing my yoga teacher training at an ashram-style program on the quiet side of the Spanish island, Ibiza. No, there were no late nights dancing in clubs to Café Del Mar. We were in bed by nightfall, up at 5:00 AM in the dark to find our place on the stone floor in the meditation cave to meditate for one hour, followed by chanting. I know it sounds daunting—I absolutely dreaded the idea at first. Not being a morning person at that time, and really, chanting? That seemed just weird! Despite my initial reluctance and the conviction that this would be my least favorite part of the two-week immersion, I discovered I loved everything about it.

Learning to sing a variety of different mantras, some in Sanskrit, some in English, touched upon everything I love about music, sound vibration, community, and spirit. There I was on that cold Spanish cave floor, singing my heart out to a yogic kirtan, reminding myself of times long ago in junior choir, eyes brimming with tears from the sheer love and joy of singing together—voices melding, hearts brimming, and just having fun with song.

What Is a Mantra?

Let’s define what a mantra is. My teachers told me that it is energy encapsulated in sound and that singing it repeatedly has great transcendent powers to promote healing in ourselves and those around us, to lift the spirit, and to focus the mind. In fact, it is more like a group meditation that is sung. We were first taught the kirtan, a yogic song of praise sung with Sanskrit words. We were told that if we mispronounced the words, the energy encapsulated in sound would be nullified, so we had better get it right. It is sung in a call-and-response form and is somewhat narrative. We then moved on to learning other mantras or simply taking out pieces of the kirtan and repeating them, altering the melody harmoniously. Every time we would sing, I would feel my heart lift, a smile form on my lips, and my spirit soar. I would float out of the meditation cave, so happy and light, ready to face the day with strength, clarity, and a heart filled with joy.

The Applications of Mantras

We were taught the applications of mantras—when to sing which mantra, why it would be effective, the correct contexts in which to sing it, and most importantly, the intention behind singing it. We learned how it could support us on our spiritual journey, how it could replace our silent moments and days (mouna), and inspire our karma yoga, whether that be cleaning the house or getting through a difficult task like caring for others, such as children. I have raised my three daughters to consider concepts like keeping an open mind or reminding ourselves that we are bliss at our essence or just singing them to sleep with mantras.

Creating Your Own Mantra

Paired down, a mantra is an inspirational phrase put to a melody. Sung in English, “Keep an open mind” over and over again will do its trick after a few minutes, with a message that is firmly embedded in the mind, embraced with love and understanding, and sung with joy and fun. Here’s a simple recipe to create your own mantra:

Create a Phrase: Choose an empowering phrase for yourself, such as “I am strong.”
Attach a Melody: Create a simple melody, no more than five notes.
Repeat: Repeat it over and over again.

How to Use Mantras

You might wonder, how can you use a mantra? I’m delighted to say that our meditation platforms and YouTube are full of them. Some of my favorite mantra singers are Deva Premal, especially her famous rendition of the Gayatri Mantra, and Krishna Das. There are many more, but these are my personal go-tos. And it is absolutely acceptable to put them on to inspire you to do anything from moving mountains to cleaning the kitchen.

Using mantras can help set an intention, support a mindset, get a group on board with a positive thought, send a soul to sleep, and support your mental health. I hope you enjoy your own journey of discovering the power of the mantra.

Humming for Healing: The Surprising Benefits of a Simple Habit

Fri, 31 May 2024 13:40:12 GMT

When is the last time you caught yourself humming? Are you an unconscious hummer like the lady I encountered in the supermarket the other day who was loudly and intently humming over the piped-in music? Perhaps you are a task hummer, melodically preparing dinner, or folding laundry? Or maybe you’re a walking hummer, accompanying yourself on your daily stroll? In our home we are all hummers and often the contrasting melodies, sound more like war of the sound waves than a chorus of harmonies. Now, science is confirming that humming is not just a charming habit; it's good for both your mental and physical health.

The Breath of Life

James Nestor, in his New York Times bestseller “Breath,” shares research highlighting the healthful virtues of humming. Nestor discusses how we often breathe too much and too fast, taking in more oxygen than necessary and not allowing our cells to benefit from sufficient carbon dioxide, which they need. He advises slowing down your breathing and being mindful of the inhalation-to-exhalation ratio—2 counts to inhale, 5 counts to exhale.

"You can absolutely breathe too much. You hear people breathe like that all the time. We think that we're getting more oxygen when we're breathing this way. We're actually doing the opposite," he explained. "You can feel this for yourself by taking 10 or 20 big, deep breaths. You're going to feel some tingling in your head or maybe your fingertips will get cool. That's from a lack of circulation to those areas."

Constantly overbreathing causes our adrenaline and blood sugar to spike and remaining in that state wears the body down further, he added. People who have anxiety, asthma and other respiratory issues are especially prone to breathing far beyond their metabolic needs. The data is very clear… we're overbreathing… it's a huge problem," Nestor says.

The Magic of Nitric Oxide

One way to slow down our breathing is by humming. This simple activity increases the production of a magical compound called nitric oxide. Recent research tells us that Nitric oxide is crucial for our health—it acts as a vasodilator, meaning it opens up blood vessels, decreases blood pressure, and increases breathing efficiency, making it easier for red blood cells to deliver oxygen throughout the body. It also supports immune function as an antiviral, antibacterial, and antifungal agent, helping battle viruses like COVID-19.

Incredibly, humming can increase nitric oxide production by 15 times. Who could have imagined that humming could act as a panacea for disorders ranging from asthma to anxiety? By simply humming anywhere from 60 to 120 breaths (ideally several times a day), test patients taking spart in a STUDY in Sweden with chronic sinusitis cleared congestion within days. These individuals, who had struggled for years and tried various treatments, woke up with clear sinuses after a night of humming.

The Vagus Nerve Connection

Humming also stimulates the vagus nerve, which activates the parasympathetic nervous system—responsible for rest, relaxation, digestion, and overall calm. After adding humming to my rotation of wellness practices as well as well as sharing it with those I train, I can concur with Nestor that just 5 to 10 minutes of humming can help you access maximum mental health benefits, promoting relaxation and reducing stress.

So next time you catch yourself humming, whether in the supermarket, during daily chores, or on a walk, know that this simple habit is doing wonders for your health. Embrace the hum and let its healing power transform your well-being.

Music and Wellness Series: The Surprising Therapeutic Benefits of Bird Song

Fri, 17 May 2024 15:57:24 GMT

May is unquestionably my favourite time of the year. As an avid lover of birds and someone who feels a profound connection with the natural world, May is a veritable concert season for me and my family, who live in a cabin nestled in the heart of the woods.

While dawn is still dark, a few shy notes from the earliest risers commence; brave souls chirping in the break of day. The burgeoning sound of tweets commences a willing collaboration with the spring peepers or small tree frogs, but soon takes over, entirely drowning out the gentle amphibious nocturnal love songs. Within minutes, the forest is resounding in full chorus, the melodic songs of thrushes, warblers and finches echoing through the trees like a symphony conducted by nature herself. These elaborate songs (we like to assign titles like, The Carnival Song, The Electric Whirly, The Water Droplet) are sung to attract mates, or are warning calls from migrants returning to their territories that they must defend.

Who would have guessed that these creatures, no heavier than their hollow bones will allow, wield a profound influence on our autonomic nervous system? Rather than harbouring a bleary-eyed resentment for these innocent creatures who have woken us so early, immersing yourself in their song and sounds encourages our nervous system to responds in kind by shifting into the gentle cadence of the parasympathetic nervous system (PNS). This activation of the PSN triggers a cascade of physiological changes within us. Our heartbeat slows, our muscles relax, and a sense of balance and equilibrium washes over us.

This profound shift isn't just a coincidence; it's an evolutionary response ingrained in our very being. Birds, like us, are keenly attuned to their surroundings, singing only when the environment is safe and free from danger. As such, the melodic tunes of songbirds serve as a sign of peace and safety, tapping into our primal instincts, signaling our nervous system to relax, rest and return to a place of equilibrium.

We naturally wake in the morning with high levels of cortisol, this is our biological way of getting us up, alert and going. Layer on a cup of coffee and before we know it our heart is racing, our stress levels are mounting, and the day carries on as it starts, at a frenetic pace. There is much we can do to start the day on a more calm and intentional way. Taking your hot cuppa joe outside, feeling the early morning sun on your face and just listening to bird song are interventions that are not only healthful and relaxing but deeply satisfying and enjoyable.

In the realm of music care, harnessing the therapeutic power of birdsong can amplify the healing benefits for both caregivers and those they care for. By incorporating these sounds from nature into relaxation sessions, therapy sessions, or simply creating a serene environment where the sounds of nature abound, caregivers can create spaces of tranquility and restoration.

Researchers from Kings College London published a study STUDY in 2018 examining the effects of bird song and interactions with nature on individuals’ mental health. The study revealed that bird song not only positively impacted anxiety, depression, and general wellbeing but it also helped individuals’ self-regulation, allowing for deeper concentration, and focus. I, myself can attest to this as I sit at my computer with a noticeably tamed and less tangential mind while being serenaded by my feathered companions singing their complex harmonies outside the windows. The gentle stimulation of birdsong, while not being distracting is found to help relieve fatigue that impairs concentration.

Whether being serenaded at the start of the day, enjoying the company of sweet birdsong throughout the day, or even witnessing the sun being sung to sleep at day's end, I find myself overwhelmed with gratitude for these fleeting weeks. It's a time when the courageous Wood Thrush, the vibrant Yellow Warbler, the cheerful Gold Finch, the ever-present Robin, the haunting Whippoorwill, and an array of other feathered friends tirelessly fill the air with their melodies. They sing not just for love, lust, and territorial instincts but simply for the sheer joy of it, as confirmed by scientists and felt in the depths of our souls.

Music and Wellness Series – Introduction

Wed, 01 May 2024 13:04:10 GMT

Welcome to a new blog series, written for caregivers, music enthusiasts and all those who understand the transformative power of music as a conduit to wellness. Whether you're a caregiver seeking respite from the demands of your day to day or simply someone intrigued by the idea of integrating music into your wellness routine, you're in the right place.

As a wellness practitioner deeply rooted in the belief that holistic approaches pave the path to health and wellbeing, I'm thrilled to introduce this blog series. Throughout these posts, we'll explore how sound and music, in its myriad forms, can serve as a buffer against stress, fatigue, and burnout. Our aim is to craft a space where science and spirit converge, offering strategies backed by peer-reviewed research and enlivened by personal passion.

We know that the sounds of nature and music serve us far beyond pure entertainment, but that they can access and stimulate parts of our brain sparking joy, encouraging, and motivating us to move our bodies, to connect to the natural world, all while deeply affecting our soul, psyche and our thoughts and emotions. The origins of music are found in the very evolution of modern man and respected in every culture on earth for its therapeutic potential, offering solace, rejuvenation, and connection in times of need.

Our journey will take us into realms of discovery where we will explore the answers to what makes walking so healthful; how rhythmic movement harmonizes with melodic inspiration to elevate both body and mind. We'll embark on soundscapes of serenity, immersing ourselves in the ethereal realms of sound baths and sleep-inducing melodies. And that's just the beginning. We will delve into why tuning into healing sounds of the natural world, actively listening to the rustle of leaves and the melodies of the breeze, not to mention the calming effects bird song has such positive effects on regulating our nervous system.

Each installment of this blog series will be crafted with care, offering you not only practical strategies but also a source of inspiration to fuel your ongoing mental health and wellness goals. Together, we'll unlock the transformative potential of music, weaving its melodies into the fabric of our daily lives.

So, whether you arrive on our page to seek solace from the chaos of our demanding lives or are curious about the healing powers of music, let’s take this journey together, one note at a time. I hope you join us for what promises to be a symphony of wellness, experiencing the rhythms of resilience.

A Shift in Terminology Describing Caregiver Burnout

Fri, 19 Apr 2024 13:55:45 GMT

Recently, I was at a conference where a new term was introduced, at least the term, “empathic strain”, was new to me.

The concept of compassion fatigue has long been acknowledged as a challenge for paid and unpaid caregivers. Recent discussions among researchers and experts have led to a significant shift in terminology, and our understanding of its impact and affects. The growing emphasis on the term empathic strain reflects a deeper understanding of the distinct neural processes involved in empathy and compassion and our understanding the difference between the two.

Empathy , the ability to sense or share others' pain, and then compassion, the recognition of suffering accompanied by a desire to alleviate it, form the foundation of caregiving roles. Empathic strain refers to the toll taken on individuals regularly exposed to others' suffering without adequate support.

The signs and symptoms of empathic strain are varied and profound, impacting both professional performance and personal well-being. The neural networks involved in empathy are the same as those connected to the experience of pain. Interacting on a regular basis with the suffering of others, compounded by an inability to effectively alleviate, causes our brain to react the same way it would to pain, with avoidance and self-protection. Those experiencing empathic strain often grapple with profound physical and emotional exhaustion, making even the simplest tasks seem daunting. This exhaustion is coupled with a notable decrease in empathy, rendering it challenging to connect with and understand the emotions of others. Heightened levels of anger and irritability become more frequent as emotional reserves are depleted, and some may turn to increased substance use or simply shutting down as a coping mechanism.

Those affected may find their satisfaction at work greatly diminished, leading to a desire for isolation from colleagues and clients. Persistent worry and stress become constant companions, exacerbating emotional volatility, and impairing decision-making abilities. Absenteeism may also manifest as individuals struggle to muster the energy to fulfill their professional responsibilities, further blurring the boundaries between work and personal life.

To address empathic strain, we need a comprehensive and multimodal approach. One of the most effective, and simple ways is to engage in mindful self-compassion practices, available through courses, online resources, and apps. It begins with training and mindfulness practices that fosters a compassionate attitude towards oneself amidst challenging circumstances. Room 217 offers musical self-care resources .

It is critical to acknowledge and validate one's feelings, an essential first step while navigating emotional complexities effectively. This is significant because it helps us to develop awareness of environmental stressors and enables us to set up proactive management of triggers.

Prioritizing self-care and establishing clear boundaries safeguard against emotional depletion, while cultivating mental calmness and equanimity through mindfulness practices enhances emotional resilience. Addressing past trauma and seeking professional help are crucial steps in healing and restoring emotional balance.

From my perspective, empathic strain offers a nuanced perspective on the emotional toll experienced by caregivers. By acknowledging its signs and proactively implementing preventive strategies, such as fostering connections with music, we can effectively mitigate its impact and promote holistic well-being within caring professions. This approach not only safeguards individual mental and emotional health but also enhances the quality of care provided to those in need.

“The expectation that we can be immersed in suffering and loss daily and not be touched by it is as unrealistic as being able to walk through water without getting wet.”

- Rachel Naomi Remen, Kitchen Table Wisdom, 1996

Music and Neurodiversity - Autism Spectrum Disorder

Tue, 02 Apr 2024 18:31:56 GMT

This blog will include both person-first language (“a person with autism”) and identity-first language (“an autistic person”) to reflect the differences in preferred language in the autistic community. You should always directly ask a person’s preferred language. All references are hyperlinked.

Neurodiversity is a term used to describe the differences in the way people’s brains work. It is the idea that there is no “right” or “wrong” way for the brain to function and that people perceive and respond to the world in different ways. It is often used in the context of autism spectrum disorder (ASD) but it also refers to ADHD, downs syndrome, dyspraxia (movement processing difficulties) and dyslexia (language processing difficulties) to name a few. The term was coined by Australian sociologist Judy Singer in the 1990s to promote equality and inclusion, as well as highlight the benefits of neurodiversity.

The DSM-V describes autism spectrum disorder as a developmental disability characterized by difficulties with social communication and interaction, and restricted and repetitive behaviors. Historically autism research focuses on the social communication and interaction aspects of the disorder, often neglecting the sensory and motor needs of persons with autism.

We have eight senses - sight, hearing, smell, taste, touch, vestibular, proprioceptive and interoceptive. The vestibular system senses balance and posture, while the proprioceptive system senses movement, action and location. The lesser-known interoceptive sense is responsible for understanding our body’s internal sensations, like whether we’re hungry, cold or tired.

Autistic people often have difficulty interpreting sensory information which can result in difficulties with self-regulation. If you have trouble interpreting sensory information your body might feel uncomfortable but you don’t know why. This feeling of “not being in your body” can result in sensory seeking or sensory avoiding behaviors. A sensory seeking behavior might look like stomping one’s feet or squeezing one’s hand and a sensory avoiding behavior might look like avoiding physical touch with others. As a result persons with autism have difficulty with arousal regulation. If you’re over- or under-stimulated, it is more difficult to interact with others and to regulate your emotions. Unfortunately these sensory seeking and avoiding behaviors are often mislabeled as difficult behaviors related to the socio-emotional aspects of the disorder.

Music therapy is often used to support autistic individuals with arousal and sensory integration, interaction and communication, and emotion regulation. Here are some ways music might be used!

Movement to music can aid in the integration of the senses, such as auditory perception and the integration of the visual, tactile and kinesthetic senses to improve body awareness. Music and deep pressure input, such as hand squeezes, can also provide functional sensory input and reduce sensory seeking behaviors.

The rhythmic component of music helps to organize the motor system. Music can then be used to improve gait, as well as fine and gross motor skills. For example, playing the piano to improve finger dexterity or hitting a drum bilaterally to practice trunk rotation.

A music therapist might use developmentally appropriate songs to enhance speech and language development in children with autism. Through singing, instrument playing and movement children can learn things like the days of the week or how to get dressed independently. Singing can also be used to help with vowel and consonant production or word learning to support speech and language development.

Improvisational music playing can be used to mimic social situations in order to teach turn taking, listening and responding and joint attention. For autistic individuals who are non-verbal, music can be a form of communication and self-expression.

Singing, songwriting, improvisational music playing and music listening can be used to help identify and express emotions. The different qualities of music can help us to convey emotions without using words. Music can also promote relaxation. A guided meditation or progressive muscle relaxation with music can help calm the body and mind, as well as improve body awareness.

These are just some of the ways that music can support persons with autism.

Grow

Fri, 08 Mar 2024 18:57:40 GMT

I initially trained with MUSIC CARE to work with Seniors in Long Term Care who were experiencing dementia and Alzheimer’s Disease. This is the path I travelled with my mom.

My training with Music Care and Room 217 supported capacity building in selecting music that was played on my harp or chosen recorded music. The music centered on the care of the individual and their specific needs. My job was to determine the individual’s specific and select music to address these needs. The music selected helped to build community, support sleep, talk about life experiences, create a background landscape of sound, support connection to decrease isolation and loneliness, as well as coming alongside people dying.

My training with Music Care helped me understand how to support people “where they were” physically, emotionally, and spiritually. Through using beat, tempo, melody, and timbre, I could cater the music and desired support required for individuals or small groups.

My profession is teaching. I am a special education teacher and use music in my primary teaching as a method for learning, practicing language skills, transmitting information about science studies or math equations, as well as having fun and creating our own songs. My teacher toolkit married exceptionally well with the knowledge and skills provided by the Music Care Certification training.

Recently, my work with students has involved individual programming for the medically fragile children and the palliative children. I use music (repeating the chorus several times) to engage and connect with the kiddos. We use music to "talk" about feelings (our communication is through eye gaze, eye blinks, and squeezing hands), and content material. I use music to enjoy our relationship of being together. At times, due to medication for seizures, my little ones can be very sleepy. I increase the tempo, engaging in tapping the beat on her hands and using silly action songs. The giggles and wiggles make it magical. I also use music to tell stories (my students have CVI, cortical vision impairment, so visual perception is difficult). This helps the child to engage in the story arch and adventures. Music is my conduit for reaching out and being with the students.

Recently, I had the sacred journey of visiting one of my children in ICU at Sick Kids. I was invited to come to say "goodbye". A dear friend who was an ICU nurse in a different department told me (AKA, insisted) that I bring my harp with me. I wasn't sure if this would be appropriate for the family. However, with the permission of the mom, I bravely packed my harp up and took it to the Unit.

It was a beautiful evening of talking with their mom and dad about how special their child was in my life. I played the kiddo's favorite songs and then ended with "The More We Get Together". The little one opened their eyes and stared at me. We hugged, and I left.

They passed the next morning.

I consider this time to be a sacred gift.

Music Care Certification has given me the confidence and toolset to work alongside people and to journey together. It is a time a beautiful, difficult, or sacred time that I have been honoured to participate in.

Thank You

Music and Neurodiversity - Attention-Deficit/Hyperactivity Disorder

Tue, 17 Oct 2023 12:47:02 GMT

Did you know that ADHD is one of the most common neurodevelopmental disorders in Canada? According to the Centre for ADHD Awareness, it affects 4-6% of adults and 5-7% of children or approximately 1.8 million Canadians. This means 1 in every 21 Canadians has the disorder.

So what is ADHD?

ADHD stands for Attention-Deficit/Hyperactivity Disorder. The DSM-V defines symptoms of ADHD as inattention, hyperactivity and impulsivity. Inattention might include failure to pay attention to detail and difficulty focusing and following through tasks. Hyperactivity might include excessive fidgeting and movement not appropriate to the situation, while impulsivity may include difficulty with turn taking or blurting something out. ADHD can be defined as a predominantly inattentive, hyperactive/impulsive or combined presentation, and often persists into adulthood. However sometimes the diagnosis is missed in childhood leading to a diagnosis later in life.

Persons with ADHD have lower levels of the neurotransmitter dopamine. Dopamine is involved in attention and memory, movement, reward and motivation. A study from Lyon University found that listening to the music you like will increase the release of dopamine from your brain.

Curious to know more about how music can support persons with ADHD?

Well, music is often used to practice attention skills. Attention can be broken down into four types: sustained, selective/focused, alternating and divided. Did you know that learning to play an instrument can help develop different memory and attention skills? For example, while playing piano you have to sustain your attention on the task, alternate your attention between the music and your hands, as well as divide your attention between the treble and bass clef. If you catch yourself playing a wrong note, you might also pause to practice the passage.

Other examples of attention exercises might include responding to different musical cues with music and movement. For example, to practice selective/focused attention a music therapist might have the client drum along to a beat with distractions in the background and a distinct musical cue that indicates stop and start. Another example of an alternating attention exercise might look like clapping if you hear the drum and swaying if you hear the guitar - this requires you to switch your focus between two different sources! Overall, attention exercises are important for improving focus on tasks, filtering out distractions and multitasking.

Persons with ADHD often struggle with executive function. Executive function is our ability to plan, organize and make decisions etc. Research suggests that music therapy can improve executive functioning. Improvisational music playing and musical composition can help a client work on these skills in a pleasurable and motivating environment! In order to create a musical composition you have to plan and organize the structure, making decisions about your creation along the way.

Finally music can also help with stress management and emotion regulation. Music and progressive muscle relaxation or movement can help calm the body and mind, as well as get rid of excess fidgeting. Improvisational music playing, listening and creating can also provide a means of self-expression in order to regulate one’s emotions.

No matter your age - music can help improve attention, reduce hyperactivity and create pleasurable experiences for persons with ADHD.

Music and Neurodiversity - Developmental Coordination Disorder

Wed, 27 Sep 2023 13:36:15 GMT

Developmental Coordination Disorder (DCD), also called dyspraxia, is a chronic condition affecting fine and gross motor coordination. Impacting nearly 6% of school-aged children, risk factors include being born prematurely or with a low birth weight, as well as a family history of the disorder.

In kids with dyspraxia the issue is not with their muscles, but rather the communication between their brain and their muscles. Coordination problems happen because the brain has a hard time telling the body what to do.

Symptoms of DCD include difficulty with fine motor skills such as using a pencil, eating with a spoon, making hand gestures or getting dressed, as well as gross motor skills such as walking, running, kicking and throwing. As a result children with DCD often avoid activities like drawing and writing or playing sports.

While there is no cure for DCD, therapy can help children improve their coordination by being taught how to do an activity by breaking it into smaller parts and practicing them regularly. Activities can also be adapted to make them easier, such as using special grips for utensils.

How does music come into play?

Music activates different regions of the brain, creating alternative routes for the transfer of information. In fact, research shows that music activates the motor cortex. The structure and predictability of music helps the brain to time our movements - this is called priming. Moving rhythmically is important for full body regulation and allows the brain and the muscles to communicate more efficiently.

For example, crossing the midline activates both sides of the brain. When we execute this movement to music we are strengthening the connection between our right and left hemispheres, as well as practicing reaching and trunk rotation. A music therapist might set up an instrument target, such as the drums or chimes, for the child to hit to practice this function.

To target fine motor skills, a child can learn an instrument such as the piano to practice finger dexterity exercises that will make tasks like tying their shoes or fastening buttons easier. Improvisational instrument playing that involves the use of a mallet or drumstick can also improve grasping and reaching movements which can help with self-feeding or drawing and writing. To target gross motor skills, a music therapist can create different musical patterns that reflect a desired movement to provide spatial, temporal and force cues. For example, if you want a child to practice reaching you might play high on the piano versus low for touching the ground.

Music and movement is an effective way to target coordination. Not only does the rhythm provide structure and timing, but the music can create a safe and motivating space to practice movements that a child with DCD might be struggling with.

Music Listening for Anxiety

Thu, 31 Aug 2023 14:44:21 GMT

Jazz Walia is a third-year undergraduate student in the Bachelor of Health Sciences (BHSc) program at McMaster University. During the 2023 winter academic semester, she participated in the Room 217 Research Practicum course generously funded by FAVDTR and wrote this blog post as part of her coursework.

When I was in my first year of university, just before my first undergraduate assessment, our professor’s only piece of advice was: “Just put on some Mozart 30 minutes before and you’ll be grand.” I initially thought the advice was completely random, but I was convinced it was a hint for a question or even bonus points. Not so shockingly, there were no Mozart questions on the test, but I did end up typing “Mozart” on Spotify 30 minutes before our test and listening to the first classical music playlist I saw.

Two years later, my Spotify and YouTube recommendations are filled with playlists called “Calming Music for 12 Hours” or “Classical Test Music.” Music has always provided me with great comfort; however, it is the soft melodic tones of classical music that have transformed my "pre-test ritual." For me, this type of music has always had a calming effect on me whenever I feel stressed, but especially when it comes to mitigating performance anxiety.

A quick search on the internet will yield you thousands of results of people searching for the same thing—"calming music"—on various streaming services. Millions of people listen to the likes of Mozart , Bach , Chopin , etc., on platforms such as YouTube and Spotify, begging the question: why exactly does it work?

Over the past couple of decades, research into music listening has inspired further exploration into the use of music as an intervention for reducing anxiety. In a recent survey by the Centre for Addiction and Mental Health (CAMH), 25.1% of survey participants expressed feeling moderate to severe anxiety. In addition, 24.0% of Canadians indicated needing some sort of mental health services but were unable to access them, highlighting the need for accessible services and systems. It’s estimated that only 20% of people experiencing anxiety receive formal interventions , illustrating the need for evidence-based resources.

Previous research suggests that music can have a significant effect on endocrine function and autonomic activity, enhancing parasympathetic activities—your body’s "rest and relaxation" state—and reducing respiratory rate and heart rate. In a study by Ubmrello et al ., featuring about 960 critically ill patients, 15 to 60 minutes of music therapy were shown to have a significant effect on reducing anxiety and stress. In a recent review of 21 studies conducted by Harney et al., it was discovered that listening to music had an overall large effect on reducing anxiety. This study was the first of its kind and highlights that while we can see a link between music listening and anxiety, more research needs to be done into important aspects such as music selection, length, setting, and dosage when looking into this relationship.

Even if you’re not a fan of the classics, both "fast" and "slow" music have been shown to improve mood. In a study by Darki et al. , 98% of fast music listeners and 99% of slow music listeners reported that music helped manage stress. The study also showed that listening to slow music decreased heart rate and both systolic and diastolic blood pressure . Fast music, on the other hand, increases heart rate and both systolic and diastolic blood pressure. Fast music was seen as "uplifting," while slow music was seen as "calming." These feelings of calmness when listening to slow music help showcase why it might be helpful to listen to music in an anxious state. Of course, "slow" music isn’t restricted to just the classics, which arguably can be "fast" at times, but rather music that often features a relaxed pace, a slower tempo, and a simple, repetitive rhythm and melody.

Our relationship with music is extremely subjective and unique to our own experiences. It has been shown that music has profound effects on both our physical and mental health; it can serve as a significant non-pharmacological resource to help mitigate anxiety and stress. The internet—most notably YouTube, Spotify, and Apple Music—is filled with playlists specifically for mood. Music and video streaming websites are a great place to start when selecting music that works for you and exploring different genres and playlists!

Author’s note: Spotify , YouTube , and Apple Music are audio streaming services that can be accessed through the internet or through cellular devices. Creating an account is free and on YouTube, an account is not needed to listen to music.

Music and the Voice – Dysarthria and Parkinson’s Disease

Tue, 01 Aug 2023 16:55:54 GMT

Parkinson’s disease is a progressive disorder that is caused by degeneration of nerve cells in a part of the brain called the substantia nigra, which is responsible for controlling movement. It’s the most common movement-related brain disease, affecting approximately 1% of people 60 years and over worldwide (AANS, 2023).

When you hear Parkinson’s disease, what comes to mind? Most people will think of slowed movements (bradykinesia), tremors and rigidity, a stooped posture and shuffling (or festinating) walking pattern. But did you know that Parkinson’s disease heavily impacts the voice?

Approximately 90% of people with Parkinson’s disease experience something called dysarthria (Moya-Galé, 2019). Dysarthria refers to a group of motor speech disorders characterized by weakness, slowness or poor coordination of the speech muscles. It is referred to as an execution disorder because the weakened speech muscles result in consistent speech errors.

Signs of dysarthria might include an inability to speak loudly, abnormal speech rhythm, a strained, raspy or nasal sound voice, monotonous speech, difficulty moving the tongue and facial muscles, slow and/or slurred speech and rapid speech that is difficult to understand. While there are seven types of dysarthria, hypokinetic and hyperkinetic dysarthria are most commonly associated with Parkinson’s Disease.

Hypokinetic dysarthria is marked by difficulty initiating speech, rigidity, short rushes of speech, a harsh of breathy sound, monopitch and monoloudness. In contrast, hyperkinetic dysarthria is marked by difficulty inhibiting speech, irregular articulation, emotions and facial expressions, as well as tremor, dystonia (involuntary muscle contraction) and tics. With all dysarthrias, the main concern is intelligibility of speech.

Did you know that music therapy can be used to treat symptoms of dysarthria?

In Neurologic Music Therapy, there are two main techniques I have used when working with client’s with Parkinson’s Disease. The first technique is Rhythmic Speech Cueing (RSC). In RSC, the rate of speech is controlled via auditory rhythm (Thaut & Hoemberg, 2016, p. 151). By practicing speech to a metronome the temporal characteristics of speech, such as fluency, rate of speech and intelligibility improve. The beat of the metronome is determined by assessing the client’s fluency and rate of speech. From here, functional sentences can be practiced. For example, if working on metric cueing, each syllable would be matched to one beat of the metronome (“I – want – a – glass – of – wa – ter”).

The second technique is Vocal Intonation Therapy (VIT). In VIT, vocal exercises are used to maintain and rehabilitate aspects of voice control such as inflection, pitch, breath control, timbre and dynamics (Thaut & Hoemberg, 2016, p. 179). These exercises are similar to those used in vocal warm up. Another concern among those with Parkinson’s disease is monoloudness and reduced loudness because it can be difficult to communicate with others if they cannot hear you.

A music therapist might use an exercise that has the client crescendo their voice to practice singing more loudly, and then transfer this skill to speaking.

With the prevalence of Parkinson’s disease it is important to think about all aspects of the disorder – especially the voice – because it allows us to communicate with one another. In persons with Parkinson’s disease, singing can then be used as an effective tool for maintaining vocal function in an engaging and motivating way.

Music and the Voice – Aphasia and Stroke

Thu, 06 Jul 2023 20:11:45 GMT

According to the Heart and Stroke Foundation, stroke is the leading cause of disability in adults in Canada. The annual occurrence rate has increased to 108,707 which equates to approximately one stroke every five minutes. With the rapidly aging population in Canada, the prevalence of stroke is only expected to increase. And with that, a growing need for strong stroke care.

With stroke, one of the most common side effects is impaired speech. Some stroke survivors may experience dysarthria (muscle control difficulties), apraxia (muscle coordination difficulties) or aphasia.

Aphasia is a language disorder that can result in difficulties with speaking, reading, writing and understanding speech, depending on the type of aphasia. Research indicates that aphasia occurs in 25-50% of individuals post-stroke. While there are several types of aphasia, we’re going to focus on Broca’s aphasia. Sometimes referred to as an expressive or non-fluent aphasia, Broca’s aphasia is characterized by diminished speech output. Persons with Broca’s aphasia may be able to comprehend speech but have difficulty producing speech.

So how does music come into play?

Melodic Intonation Therapy (MIT) uses the melodic and rhythmic elements of singing words and phrases to aid in speech recovery. This technique is used with patients who have aphasia. Several studies have indicated that the Neurologic Music Therapy technique MIT can help reroute speech pathways from the damaged left hemisphere to the language-capable regions of the right hemisphere (Thaut & Hoemberg, 2016, p. 141).

In MIT the therapist begins with humming, then singing and gradually moves into speaking. The therapist may employ a vocal technique called sprechgesang. In sprechgesang, the therapist uses their voice in an expressive manner, halfway between singing and speaking. Throughout the exercise, the therapist also taps the client’s left hand.

Why the left hand? MIT can help reroute speech from the left to the right hemisphere. This is because our brain is organized contralaterally. This means when we tap our left hand we are activating the right side of our brain! Research by Gentilucci and Dalla Volta (2008) also indicates that left hand tapping activates right hemispheric language networks.

You may have even heard of MIT in the news before. Congresswoman Gabby Giffords suffered a traumatic brain injury, and was diagnosed with aphasia. MIT was part of her journey to recovering her ability to speak. This is just one way music can be used in speech rehabilitation.

It can be difficult to watch a loved one experience the loss of their ability to speak. The beauty of music is that it can aid in rehabilitating the voice while encouraging meaningful moments of connection with others.

Music and the Voice – Apraxia and Developmental Speech

Thu, 06 Jul 2023 19:55:01 GMT

The most common speech disorder in children is Developmental Apraxia of Speech (DAS). According to the American Speech-Language-Hearing Associating, 1-2% of children for every 1,000 have DAS.

In DAS there are three main features: inconsistent errors in sound production, disrupted transitions between sounds and syllables and inappropriate prosody (Thaut & Hoemberg, 2016, p. 196). Children with DAS also struggle with motor speech function and the structure of speech sounds (American Speech-Language-Hearing Association, 2007).

One way a child can develop their speech and language is through music therapy.

The Neurologic Music Therapy technique Developmental Speech and Language Training through Music (DLSM) uses developmentally appropriate musical experiences through singing, playing musical instruments and engaged in music and movement to improve speech and language development. Music may be an effective means to enhance speech and language because music and language shared similar brain mechanisms (Thaut & Hoemberg, 2016, p. 196).

When working with children, music should be creative, motivating and exploratory! This creates an engaging environment for the child to work on things that may be quite difficult and frustrating. Another thing to consider when creating songs for children is the structure because repetitions can help solidify concepts and provide several opportunities for the child to execute the skill.

For example, here is a line from a song I wrote for a child learning vowel production using animal sounds. “Animal sounds, animal sounds, what does the animal do? Does he go ee, ee, oo? Your turn…” Repeating this line several times can give the child lots of opportunities to explore the sound and their voice, which can help increase voice production.

Movement, props and other tools can also be incorporated while singing. In the animal song, you might have the child mimic the different movements the animal would make.

When working with children, it’s important to imitate. Not only does it provide them a model to follow, but it can create a safe place between you and the child. Encouraging exploration while developing speech and language can be critical for success!

For children who may not be able to use their voice to communicate, alternative and augmentative communication (AAC) devices may be used. Their devices can be incorporated into a song by giving them opportunities to respond to the music by making selections.

These are just some considerations for how the playful nature of music can be harnessed to engage children in speech and language development.

Let Me Put A Little Bit Of My Feet In Your Shoes

Thu, 08 Jun 2023 19:44:02 GMT

You could say it was happenstance or just the music doing its job. It was through performing at an outdoor concert in Toronto that the door opened for me to experience performing music in a healthcare setting. I was heard by the Music Programmer at Sunnybrook Hospital and I have been honoured to play for the Veterans and their families at Sunnybrook in their Warriors Hall, in the gardens and on some of the wards for the more vulnerable residents for over 10 years.

In those spaces, up close, I watched the power of music do its work - with all of us - moving our bodies and our hearts. There’s a kind of “musicking” that has a circular, reciprocal effect where people can somehow manage to meet in the space between, song by song and note by note. I don’t think you can do as many of these types of gigs as I have over the years without your heart naturally being wedged open further to a place of deeper empathy.

After watching the wonderful care given by the staff at Sunnybrook Hospital, my wife Mary Ellen and I found ourselves as full-time carers for her Mom across a 6 year journey with her struggle with dementia. For my wife, the load was at times very heavy with challenges and demands always changing. I became very aware of the heavy load that people in those kinds of care situations carry - the risk of burn out and feeling invisible, sometimes to the person they are caring for with dementia. And of course, there are the complexities of care when it is such an intimate mother-daughter relationship. But my wife also discovered that this crucible offered up precious moments of intimacy and connection that ironically were only possible because of her Mom’s changing mental landscape.

And of course, care extends out to everyone in the home. I did my bit to support them, in part as the “big tease” with my Scottish sense of humour. But I was also able to connect with and encourage my mother-in-law Ruth through her relationship to music. She had been a singer and piano player all her life and previously, I had helped her fulfill her passion by recording two albums for her – one of her favourite Gospel songs and another of her favourite Jazz tunes - which have been great companions for her. As the dementia progressed, we continued to encourage her to play piano for us, well into her nineties, which was a blessing for all of us but also great exercise for her cognitively and physically. At times, I would play boogie woogie piano to help her persevere with her walking routine as the body made it more and more difficult.

As a lifelong songwriter, my radar is always on high alert - for fragments of lyrics and music that can be heard in the ether, or simply in conversation. One day, after a performance at the Sunnybrook Hospital, I was having a conversation with a staff member. A line in the conversation stuck with me. The staff member had said to me, “if only I could have put a little bit of my feet in her shoes.” That’s all it took for me to have my songwriting wheels start turning. The melody was mapped out during my drive home and a song began to be born. Songs are funny things. It can take a while before you see fully what you’ve written and what it means to you. I knew I was writing about expressing empathy for someone who was struggling. But I’ve since realized all the places I have seen where empathy is needed – empathy for my mother-in-law, empathy for my wife as her carer and empathy for all the professional carers in different health settings - the brave care warriors who need to be cheered on and reminded that it is OK to ask for help.

The song ended up winning the 2022 Mississauga Summer Song Contest and was recorded at Metalworks Studio in Mississauga, produced by myself and Justin Abedin (Jacksoul/Justin Hines) who also plays electric guitar and features an all-star cast of musicians, including Lyle Molzan (Jann Arden), Mark McIntyre (Dean Brody), Joel Visentin (Barbra Lica), Bryden Baird (Feist) and Sean O’ Connor (NOJO). It is the first single from my upcoming album, “One Ray Of Light At A Time.”

A SHAREABLE MOBILE e(Empathy)CARD

I hope this song will encourage listeners to think of people in their life who could use some understanding and a helping hand. One way they can do that will be by sending “Feet In Your Shoes” with a customizable Mobile e(Empathy)Card to someone you want to let know you’re thinking of them and to offer up some love and support at www.davidleask.com/ecards

You can listen to “Feet In Your Shoes” at www.davidleask.com/feetinyourshoes

David Leask is a born song-chaser with seven critically-acclaimed albums and multiple international songwriting awards. He also loves to inspire other creators as a songwriting mentor and facilitator.

Music and Schizophrenia

Wed, 07 Jun 2023 18:57:30 GMT

Schizophrenia is a highly stigmatized mental illness that is often left out of the conversation. Affecting less than one percent of the population, the disorder is widely misunderstood by the general population.

So what is schizophrenia?

Schizophrenia is a mental disorder characterized by disruptions in thought processes, perception, emotional responsiveness and social interaction. The symptoms of schizophrenia fall into three categories: positive symptoms, negative symptoms and disorganized symptoms. Positive symptoms are those that are abnormally present, such as hearing or seeing things that do not exist. Negative symptoms are those that are abnormally absent, such as anhedonia (lack of pleasure). Disorganized symptoms can include abnormal movements, thinking and speaking.

Now let’s explore how music can help with symptoms of schizophrenia.

A person experiencing schizophrenia might need additional sensory information to distinguish between real and unreal experiences. Studies show that listening to music has a positive effect on positive symptoms and quality of life for patients with auditory hallucinations . The insular cortex, which links sensory experience and emotional valence, is active during music listening interventions for persons with schizophrenia.

Participation in group music making experiences may also benefit persons with schizophrenia by increasing feelings of pleasure and social connectedness and decreasing feelings of anhedonia. This might look like improvisational instrument playing or lyric analysis and song writing to encourage social interaction. Themes might include relationships, sense of self and acceptance.

Persons with schizophrenia might have problems with attention, executive function and memory. Music can be used to train these cognitive functions . This might look like responding to different musical cues or creating compositions with different instruments to practice skills such as organizing, planning and decision making.

Music and movement may also be helpful for persons experiencing disturbed psychomotor behavior. Rhythm can provide timing and structure which helps organize the body’s movement. A guided relaxation such as a meditation or progressive muscle relaxation to music may also help with body awareness and stiffness or rigidity.

Music can be an effective tool to help with the wide range of symptoms that persons with schizophrenia experience.

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Music and Mental Health - Post-traumatic Stress Disorder

Wed, 31 May 2023 14:46:44 GMT

While certain sights and sounds can remind us of beautiful times, they can also remind us of difficult times, transporting us to a place that we don’t wish to be.

Post-traumatic stress disorder or PTSD occurs when someone experiences or witnesses a traumatic event and struggles to recover from it. PTSD can affect someone’s emotional, physical, social and spiritual well-being. Although we often associate PTSD with combat veterans, individuals at any age who experience natural disasters, war, violence, historical trauma and even bullying can suffer from PTSD.

It's important to know that PTSD is different for everyone. For some PTSD might look like reliving the event through flashbacks and nightmares, while for others it might look like increased emotional distress. PTSD can result in reactive responses to ordinary sounds, as well as isolation from others and avoidance of daily activities for fear of reliving the traumatic event.

So how does music come into play?

Music is linked to our emotions, whether negative or positive, it has the ability to bring our memories back to life. Think of how playing a song from the past can help an individual with dementia remember memories that are otherwise forgotten.

A concept called state-dependent memory can help us explain why. State-dependent memory occurs when material encoded in a particular state is better remembered if the same state is experienced at recall. This applies to both positively and negatively emotionally charged memories. For someone with PTSD, if a specific sound or song mimics that of the traumatic event, it can prompt them to relive it. The part of our brain responsible for our emotional memories is the amygdala. If someone with PTSD experiences a trigger similar to the traumatic event, it can send a signal through their body to activate their fight-or-flight response. The special thing about music is that it can also be used to override the traumatic event and tap into an individual’s positive memories.

Music associated with positive memories can then be used to refocus attention and calm the nervous system. Research shows that guided music listening can help regulate emotions, reduce symptoms of PTSD and increase connections among others, especially if in a group. This can help someone with PTSD increase control over their physiological stress symptoms by creating reassuring experiences that encourage trust in oneself and others.

Music can also train the brain to increase tolerance to sounds. For example, responding to different musical cues with a triggering sound in the background helps to work on diverting one’s attention and increasing tolerance to triggering sounds.

Whether it be to relax, distract or transport, music can be used to effectively improve the quality of life for individuals living with PTSD.

Music and Mental Health - Anxiety and Depression

Wed, 24 May 2023 14:42:16 GMT

In a given year, 1 in 5 Canadians will experience a mental illness . By the time Canadians reach 40 years of age, 1 in 2 will have, or have had, a mental illness.

The two most common mental illnesses are anxiety and depression. Anxiety is characterized by the presence of excessive worry about a variety of topics, events or activities. It might be challenging to control and easily shift from topic to topic. It can present as edginess or restlessness, irritability or difficulty sleeping. Depression is characterized by persistent feelings of sadness and hopelessness and loss of interest in previously enjoyed activities. It can present as anhedonia (lack of pleasure), lack of self-care, interpersonal withdrawal and sleep disturbances. While we all experience anxiety or sadness from time to time, for others it can be debilitating.

A common comorbidity is anxiety and depression. Comorbidity refers to the presence of two or more illnesses at the same time. Research suggests that approximately 60% of people with anxiety will also have symptoms of depression, and vice versa.

The great thing about music is that it can be used as an effective, non-pharmacological tool to help reduce symptoms of anxiety and depression. Here are some of the needs that music can help address.

A person experiencing anxiety might need a physical outlet for motor energy or relief from muscle tension. This can look like moving to music, whether it be walking or dancing, or some kind of guided relaxation such as a meditation or progressive muscle relaxation to music. Calming the nervous system with music and movement can help control the physiological symptoms of anxiety and provide the individual with strategies to combat the physical sensations of anxiety like shakiness or tension.

A person experiencing depression might need an outlet for identifying and expressing negative feelings. This can look like improvisational instrument playing, lyric analysis and song writing . Topics for songs might include stress management, hope, acceptance, friendship and belonging. Creativity can be a motivating experience for both exploration and expression. This can be done in either an individual or group setting. Participation in mood-lifting experiences with others can increase interest in previously enjoyed activities as well as reduce feelings of worthlessness and guilt. Sometimes we just need to know we are not alone.

Using music to help with symptoms of anxiety and depression can also be as simple as reaching for our favorite playlist. We can use music to move from how we currently feel to how we want to feel. This is called the iso-principle. It is a technique in music therapy where music is matched with the mood of a client, and then gradually altered to affect the desired mood state (Davis, Gfeller & Thaut, 2008). Changing how we feel can help us change how we think.

These are just some of the ways that music can be used as a fun and effective tool for reducing symptom severity and improving quality of life for those living with anxiety and depression.

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5 Ways Music Impacts Quality of Life

Fri, 31 Mar 2023 15:46:23 GMT

A term that is frequently heard is ‘quality of life.’ (QoL) The World Health Organization defines QoL as “an individual’s perception of their position in life in the context of the culture and value systems in which they live and in relation to their goals, expectations, standards and concerns.” [ WHOQOL Measuring Quality of Life (2012)] There are various indicators, measures, tools to evaluate quality of life.

In health care, QoL may be thought of as how an ailment affects someone subjectively, whether they are enjoying life and what it holds. Mood, resiliency, anxiety, memories and arousal are 5 ways music can impact quality of life on an individual level.

1. Music releases dopamine

Research by Dr. Valorie Salimpoor from the Rotman Research Institute at Baycrest found that listening to music that gives you the chills, triggers the release of dopamine in your brain. Dopamine is a chemical released in the brain that makes us feel good. It acts as our reward center and is involved in functions such as motivation, movement and mood. This evidence suggests that dopamine is not only released when we experience chills, but that it’s also released when we anticipate experiencing chills. So the more pleasurable music you listen to, the more dopamine you’ll produce!

2. Music improves resiliency

An analysis by Lee (2021) provided evidence that music had statistically significant effects in decreasing pain and emotional distress on self-report scales, as well as improving heart rate, blood pressure and respiration rate in patients experiencing pain. Although more research is required to pinpoint whether pain relief is due to the release of endorphins, the use of music as a distractor or the use of music to create positive associations, there is no doubt that music improves our resilience in times of need.

3. Music reduces symptoms of anxiety and depression

A study by Gfeller (2002) found that music may help reorganize affective content. This might look like rethinking how you process life experiences, changing your perception of self and others, learning new coping skills or setting new goals for yourself. These changes in thinking patterns can help you reduce symptoms of anxiety and depression. This may be why, when you’re feeling upset, you find yourself reaching for your playlist.

4. Music helps recall memories

We know from research that areas of the brain that encode musical memory show little damage in Alzheimer’s Disease. A study from the University of Utah in 2019 found that playing personally meaningful music for people with Alzheimer’s Disease stimulated those areas of the brain. A study by Alfredson et al. (2004) found that when older adults listen to self-selected emotionally significant music, there was increased brain activation in regions that link music perception, emotional responses and memories.

5. Music improves arousal

Studies have shown that music can both increase or decrease arousal depending on the type of music. There’s a reason that we listen to music when we work out! A study by Eliakim et al. (2007) found that stimulative music increased heart rate, an indicator of increased arousal. In contrast, a study by Yamamoto et al. (2003) found that the gentle and calming qualities of music can decrease arousal. In clinical studies with older adults, researchers also found that music improved sleep quality and decreased night waking.

Whether we listen to music, play an instrument or sing, music is a powerful tool we can harness to improve our QoL and make ourselves feel just a little bit better!

Music Therapy Awareness Month

Fri, 24 Mar 2023 12:40:46 GMT

March is Music Therapy Awareness Month!

The Canadian Association of Music Therapy (CAMT) defines music therapy as “a discipline in which Certified Music Therapists (MTAs) use music purposefully within therapeutic relationships to support development, health, and well-being. Music therapists use music safely and ethically to address human needs within cognitive, communicative, emotional, musical, physical, social and spiritual domains.”

Basically, music therapists use music to address non-musical goals. Here are some examples of goals and music therapy interventions within the seven domains of music therapy:

1. Cognitive

The cognitive domain addresses goals such as attention, executive function and memory. A music therapist might create a musical mnemonic with an older adult to remember important information about their surroundings. With all ages, using the drum to repeat rhythmic patterns can address different attention skills such as sustained attention. Creating a musical composition can also address executive function skills such as planning and decision making.

2. Communicative

The communicative domain addresses goals such as non-verbal and verbal communication, interpreting facial expressions, developmentally appropriate conversational skills and producing different consonant and vowel sounds. A music therapist might target oral motor skills by singing and playing instruments like a harmonica or kazoo. Improvisational instrument playing can also be used to act out call and response. For older adults with dementia, fill in the blanks can be placed at the end of familiar songs to stimulate speech.

3. Emotional

The emotional domain addresses goals such as identifying and expressing emotions, self-regulation, and managing symptoms of anxiety and depression. A music therapist might use live or recorded music in a lyric analysis to talk about feelings related to loneliness and depression. Song writing with original or pre-composed music and improvisational instrument playing is also a great way to express oneself!

4. Musical

The musical domain addresses goals such as keeping a steady beat, learning to read music and learning to sing or play musical instruments. In an adaptive lesson musical skills are the primary goal and secondary goals might include improved motor skills or self-esteem. A music therapist might use an adaptive lesson to teach a child with a neurodevelopmental disorder how to play the piano.

5. Physical

The physical domain addresses goals such as fine and gross motor movement, balance, coordination, range of motion, strength and endurance. A music therapist might use the metronome and live or recorded music to help someone retrain their gait post-stroke. Children can also practice crossing the midline and improving range of motion by playing the drums. The piano is also an effective tool to work on fine motor skills through isolation exercises.

6. Social

The social domain addresses goals such as turn taking, making eye contact, interacting with peers and participating in group discussions. A music therapist might use improvisational instrument playing with children to practice turn taking. Lyric analysis and song writing can also encourage participation among peers!

7. Spiritual

The spiritual domain addresses goals such as sense of self and one's relationship to their beliefs. A music therapist might encourage improvisational instrument playing to explore identity. Singing and analyzing songs about our faith can also strengthen our relationship with others.

Everyone can find success in music therapy because we all have natural musical tendencies that music therapists can draw on to help us with our personal goals.

On Becoming a Music Therapist

Fri, 03 Mar 2023 14:22:57 GMT

“Good morning everyone! My name is Kaitlyn and I am so excited to be here with you all on this fine Tuesday...I’m going to sing you a song. If you know the words, feel free to sing along or just move to the music. It’s by an artist who most you probably know named Elvis Presley...and it has a little something to do with love.”

Now in the second year of my music therapy internship at the University of Toronto , that introduction is one I’ve given many times at a practicum placement in long-term care. I can still remember that first morning last September like it was yesterday. After the temperature checks and the Covid tests we made our way through the winding halls to a back room. Residents were gathered in a circle playing games, patiently waiting for their next activity to start. Now I’ve been in long-term care homes before, probably more times than I can count. But never on this side. Never like this. A new music therapy intern, here to help and learn.

I have two grandmothers with Alzheimer’s Disease so it probably wasn’t a surprise to anyone that I ended up here. As I witnessed the deterioration of my loved ones firsthand, I also experienced the profound influence that music continued to have in their lives. On the most difficult days, music continues to be our sole form of communication. When I play songs that remind them of their loved ones, their favorite Italian opera singer or the nursery rhymes they used to sing to me as a child, it sparks a connection between us, even if just for a moment.

At that time in my life, I was completing a Bachelor of Music at the University of Toronto, and if I’m being honest, I struggled. I was in a constant state of stress, anxiety and fear, worried that I would never be enough as a musician. All the stress and pressure I had put on myself to succeed as a musician had tainted my relationship with music and my ability to share it with others. The thing that I had once loved, was no longer a source of joy, but a source of pain.

Towards the end of my degree I discovered music therapy. Bev Foster even came to one of my classes to talk about Room 217 and her story. New to the world of music and health, I decided to jump in headfirst and apply for a masters in neurologic music therapy.

From that first day of school I was in love, but I was also terrified. Terrified of making a mistake, terrified of making the wrong decision. The stakes seemed higher now. The music seemed to matter more now. All those insecurities that had become second nature during my undergraduate degree started to build up again, until one day I noticed they weren’t there anymore.

Each time I worked with a client, that fear, anxiety and uncertainty started to chip away. As I learned about their families, their careers and their passions I began to share in their successes and they shared in mine. I developed relationships with others like I’d never known. Relationships that made saying goodbye at the end of the year oh so difficult.

After months of working with others, I still hadn’t played for my own grandmothers. And if I’m being honest, it’s because I was scared. While I often sang along to recorded music with them, I had never accompanied myself on an instrument. This year I played music for all sorts of people. Why couldn’t I just play music for the people in my life? For the ones in my life who needed it the most?

A couple of months ago I played for one of my grandmother’s in long-term care. Just us and my guitar. Finding music therapy not only allowed me to help others, but it helped me find myself again. To find my voice, my passion and the love I have for sharing my musical gifts with others. It reminded me why I even chose to pursue music in the first place. My grandmother doesn’t care if I play a wrong note or if I sound a little flat. She just cares that I’m there. She cares that I’m with her and for a moment, it’s just us. And even though she has lost the ability to use her words and she hasn’t remembered who I am in a very long time, I know that she loves and cherishes this time together. I watch her foot tap to the music, I feel her hands squeeze mine, and I know she is with me.

At the end of every visit I always ask her for a kiss. I bring my cheek to her face and say “Dammi un bacio?” She kisses me every time.

All I ever wanted to do was to make people happy with music. I wanted them to experience the same love and joy that music brought to my life. So as I enter my final year of study to become a neurologic music therapist, these are the things that I will keep with me. When those fears and insecurities try to creep in, I will remind myself of where I came from and where I’m going. I will remind myself of the people I am doing this for. Myself. My loved ones. The people I haven’t had the pleasure of meeting yet. There’s a lot of things to be scared of, but helping others with music like it has helped me, isn’t one of them. At least not anymore.

Room 217 was part of my journey to becoming a music therapist. To this day I still have the pamphlet Bev handed out in that class. Her story inspired me . It reminded me why I wanted to use music to help others.

It can be difficult to help our loved ones, to know where to start, especially when it comes to using music. The beauty of Room 217 is that it gives us that starting place, guides and supports us as we gain confidence with music in care.

So wherever you are in your journey, know that it’s never too late to start to incorporate music into your life, your care visits. While you may or may not become a music therapist, all of us can access music as a means of care for ourselves and others.

For more information on becoming a music therapist, visit the Canadian Association of Music Therapists www.musictherapy.ca .

The Faces of Room 217: Who Receives Music Care

Thu, 23 Feb 2023 21:10:14 GMT

Music care can be received by anyone. From infants who may need soothing, to teenagers who need to express themselves, to mid-life professionals who need to reduce stress, to older adults who need engagement and socialization, music received as care is a beautiful thing.

Music care may be received passively, as in listening to a recording. Or it may be received more actively within a therapeutic session, or a 1:1 visit, or in an engaging program.

We know that the effects of music are varied. For individuals with dementia, music can be harnessed as a powerful tool to reduce feelings of agitation, anxiety and depression, improve orientation to surroundings and recall memories of the past.

Theresa, a registered nurse from Moncton, NB used one of Room 217’s designed music albums Country Roads in her work at a hospital. She describes how one of her patients received music care through this album and the effects it had on him.

“The special man for whom I bought Country Road was having a particularly restless morning. He is young – just turned 61. No nursing home will take him. He has a very advanced frontal lobe dementia which, at present, leaves him with little speech except for the occasional "no!!" or a simple yell. He paces constantly. From morning to night, if he isn't pacing, he is sitting only momentarily at the edge of his bed. I brought the music to his doorway, turned it on and was quite frankly stunned to see his reaction. He stopped pacing, stood perfectly still, started to simply walk himself around in a small circle, much more slowly and much more calmly. After four songs, he was able to sit in his glider chair. He even tapped his toes to the beat. Incredible! He had not sat still for more than 4-5 seconds in months. It brought me to tears.”

For older adults, singing can help older adults strengthen their speech. Singing can be an interactive way to increase breath support, vocal volume and range - resulting in reduced vocal effort. Singing also allows us to be more expressive by creating opportunities for meaningful connections.

Vicky, an activity aide from Minden, ON used Room 217’s dementia singing program, Pathways , with the residents in her long-term care home. She values the connections the music makes.

"They want to do Pathways again and again and that is welcome news for an activity aide. The connections have been amazing – between residents themselves and between staff – lots of meaningful moments and connective points.”

At the end of life, music can help distract from pain, reduce feelings of isolation, and provide comfort and peace. Music also has the ability to help us communicate sentiments like “I love you” and “thank you”. Music can also help us create something to be left behind and remembered – like a favourite song that can bring peace. It can change the atmosphere in the care space.

Beatrice, a chaplain from Hamilton, ON shared her experience using Room 217’s Spirit Wings album with a young daughter and her family.

“Spirit Wings helped me prepare a family for their young daughter's end of life journey. I introduced the music gently to the mother and it calmed her down. It changed the atmosphere in the hospital room and made it a very gentle, quite loving space.”

If you are a formal or informal caregiver, educator or musician wanting those you serve to receive music care, then become equipped and take our training. It is designed to give you the confidence you need to begin to integrate immediately into your routines.

Rhonda, a program manager in a long-term care home in Ancaster, ON took Room 217’s Level 1 Music Care Training . She recounts using what she learned, and the impact on one of her residents who received music care.

“I have, in the 2 days since the workshop, found an opportunity to use the training several times. One resident in particular had just come out of a showering experience that had put her into a state of sobbing, shivering, rocking, crying and moaning shock. I was able to use the call and response, the humming, the singing and the breathing to calm her and lull her to sleep. Without your training I may have been at a loss as I have never seen this resident so upset.”

Music can be louder than words. It has the power to connect us to ourselves, and to others. And in dark spaces, music can be a light that transcends and comforts us, and those around us. When it is received in the context of care, music can be transformative.

For more information on Music Care Training, visit musiccare.org/training or email info@musiccare.org .

The Faces of Room 217: Who Delivers Music Care

Fri, 17 Feb 2023 14:19:49 GMT

Music care can be delivered by anyone. It is the intentional use of music to improve health and well-being.

Typically, music care is integrated into a person’s regular scope of caring practice i.e., family caregiver, social worker, health aide, recreation therapist, volunteer, chaplain etc. In this way, delivery makes for a music-rich environment through community music opportunities, regular programming, spontaneous musicking, technology applications and a soundscape conducive to well-being.

Music care may also be delivered by professional practitioners such as music therapists, healthcare musicians, harp therapists, music thanatologists. In this case, the person has extensive training and expertise using music with specific goals whether they are clinical or cultural.

Music care is also delivered through knowledge development and translation. Using a research-informed approach, musical effects and strategies are passed on through education, training and research.

While music care delivery may be inclusive, becoming informed about benefits and adverse effects of music is essential. Room 217 provides training and certification for informal and formal caregivers to learn how to deliver music care more responsibly and effectively.

Here are some of the certified music care advocates that are delivering music care within their scope of practice.

Meet Dilip Ghosh . Dilip is an activation coordinator in the Transitional Unit of Complex Continuing Care and Rehab at Michael Garron Hospital and Chester Village Long-term Care Home. Here is how he prioritizes the mental and physical well-being of his patients using the music care approach:

“In my everyday practice I use music as part of a non-pharmacological approach to treatment for three main reasons. First, I use music in order to reduce responsive behaviors in my patients by engaging them in meaningful musical activities. Second, I integrate music into other programs so that my patients' can continue to develop the social, emotional, physical and intellectual skills that can ultimately help improve their quality of life. Third, I use music to make a connection with my patients to enhance their self-confidence and self-worth, contributing to their overall wellbeing.”

Meet Shelley Neal . As a special education teacher, program coordinator and therapeutic musician, here is how she uses the music care approach in her practices:

“I use music to help me deliver curriculum content, as well as coordinate movement, communication and language development with non-verbal children. As a therapeutic musician, I use music at the bedside for those in hospice and long-term care to meet their moods and needs at the time. I love coming into care settings to talk to staff about how to use music to reduce isolation and loneliness and improve quality of life.”

Meet Corey Jellison . As a human service worker for Key Industries, here is how he uses music care to empower persons living with a disability:

“The needs I see music meeting in my care practice is seeing people for who they are, being able to express themselves and finding new ways for people to move forward with the abilities they have. I use vocal breathing, instrument playing and music listening to meet these needs.”

Meet Heather Grant . Heather is a recreation therapist with the Alzheimer’s Society of Sault Ste Marie and Algoma District. Here is how she incorporates the music care approach to support clients with memory loss:

“From encouraging their participation in physical activities to reminiscing about lost memories, music has the ability to transport them to a particular place and time with just a few bars of a song. It can be a release of emotions or calm someone who is agitated, or it can help an individual cope with anxiety and depression, and aid in pain management. Music helps where language can be lost. When an individual might not be able to speak, they are still able to sing.”

If you would like to learn how to deliver music care within your practice of care, contact us at info@musiccare.org .

How Music Accesses Memories in Dementia

Thu, 09 Feb 2023 17:07:21 GMT

Have you ever listened to a song and felt like you were transported back in time? I know I have.

For individuals living with dementia, this can be harnessed as a powerful tool to help them remember important times in their lives with friends and family.

In neurologic music therapy, we use a technique called Associative Mood and Memory Training or AMMT for short. Thaut (2014) describes AMMT as a musical mood induction technique to induce a mood congruent state for memory recall or to access associative mood and memory networks by inducing a positive emotional state in learning and recall.

A mood congruent state occurs when information we are encoding or recalling matches our current mood. For example, remembering positive memories while in a positive mood. State dependent memories occur when information encoded in a particular state is better remembered if the same state is experienced at the time of recall. For example, remembering details of your own wedding while attending another wedding.

Associative mood and memory networks refer to the fact that our memories are encoded in connection with concepts that describe the event, such as the people, weather or location.

For these reasons, when I implement AMMT with older adults I play a combination of live and recorded music with different props and images related to songs they would have enjoyed in their young adult years and ask them questions about the music and their experiences to help facilitate memory recall.

Did you know that our most significant memories are created between the ages of 15 and 25?

This phenomenon is called a “reminiscence bump”. Studies have found that this applies to music as well. In the reminiscence bump, music and memories from these years will be more readily recalled.

What's interesting about this is that we also have these cascading mini reminiscence bumps. The first mini bump occurs for the music our parents listened to, and the second mini bump occurs for the music our grandparents listened to!

The next time you want to help someone reflect on the positive memories in their life, or even in your own life, put on some music related to these special memories and see what happens.

Sing With Me - 5 Reasons to Sing With Older Adults

Thu, 26 Jan 2023 15:20:37 GMT

Did you know singing can improve voice quality?

As we age, it can become more effortful to execute the act of speaking. Older adults experience something called presbylaryngis , which is the hardening of the vocal folds. Singing can help older adults maintain important elements of vocal control, as well as create meaningful opportunities for interaction. Here are five reasons why you should sing with older adults.

1. Singing can increase breath support

As we age, our abdominal muscles become weakened due to lack of use which contributes to difficulties coordinating the act of speaking. By triggering our reflexive breathing response, we can address decreased breath support. For example, when you breathe out, you must breathe in.

It can also be helpful to make lyric sheets that indicate where to breathe! The next time you’re singing, try adding a reflexive breath and see if you feel a difference.

2. Singing can increase vocal volume

One common symptom of presbylaryngis is decreased volume, especially towards the ends of phrases. By singing with older adults and crescendoing (getting louder) through a phrase, you can target decreased volume.

It can be helpful to make lyric sheets that show the lyrics getting larger to indicate to sing louder. You can also add hand movements, like a pulling motion, to help with singing louder. The next time you’re singing, experiment with this and see if you can hear a difference!

3. Singing can increase range

Another common symptom of presbylaryngis is a higher pitched voice. The smaller our range, the less expressive we can be with our speaking voices. This is called inflection. Inflection is when we change the tone or pitch of our voice when we are speaking in order to convey a more precise meaning for our words or provide insight about how we are feeling.

It can be helpful to sing familiar songs in different keys. You might find that some keys feel more comfortable to sing depending on the range of your voice.

4. Singing can reduce speaking effort

Symptoms of presbylaryngis and weakened abdominal muscles can result in effortful speaking and vocal fatigue. Through singing tasks that focus on the different elements of vocal control, we can counterbalance the vocal load.

With speaking, the use it or lose it principle applies. The more we engage in the task, the easier it will be to do. By singing regularly we can support healthy speaking and singing voices, and communicate more easily with friends and family.

5. Singing improves emotional wellbeing

Group singing can reduce feelings of isolation and loneliness, as well as provide opportunities for meaningful connection by reminiscing about the positive memories that make us feel better. Singing with others can also make us feel more confident in our speaking and singing voices.

Sometimes, all we need to do is sing.

The Faces of Room 217 - Dawn’s Story

Fri, 16 Dec 2022 18:14:12 GMT

There is no denying that music brings people together. Regardless of age, gender or race, music is a force that connects us all. At Room 217, music and a desire to help others is what has brought us all here. Each face of Room 217 comes from a different background, bringing their own unique stories and experiences to achieve one common goal: to help others with music, just like every person who is touched by and touches others through Room 217. In the coming weeks you will get to meet the faces of Room 217. Here’s Dawn’s story.

Meet Dawn Ellis-Mobbs. Dawn is the Education Manager at Room 217. Both a music educator and community musician, she brings her passion for integrated arts and multidisciplinary projects in care spaces to Room 217. I asked her some questions about her life before Room 217 and how these experiences shape her role at Room 217.

Kaitlyn: How has music impacted your life?

Dawn: That is an interesting question to ponder at this point in my life. How has music not impacted my life? In my early years I played piano and then switched to flute and joined multiple bands during my high school years. It was in these programs that I started to develop a social network of friends and colleagues, all connected by the love of playing together and creating music.

From there I went on to complete an Honors Bachelor of Music in Performance and as Artist Diploma from the Glenn Gould School . I also spent a year at the University of Montreal studying orchestral performance practices as a flutist.

Kaitlyn: What did you do before Room 217?

Dawn: I went on to discover the joy of classroom teaching and spent 15 years as a music and arts specialist with students from junior kindergarten to grade 12 in the York Region. I was also an Arts Administrator at the Canadian Music Centre , a Department Head of Arts for the York Catholic District School Board, and most recently the Director of Education and Community Engagement with the Toronto Symphony Orchestra.

For me, experiencing the impact of music in care spaces (and my philosophy to include school environments as care spaces) blossomed into becoming a program developer connecting the world of long-term care with the Toronto Symphony Orchestra and Toronto Symphony Youth Orchestra. During this time I was fortunate to witness the role of music on the lives of others from both a professional and communal perspective. Through community engagement work, I was able to create space in the sandbox to bring these worlds together. Sitting on care calls and watching people connect through the joy of music is something I will never forget. As one resident said, “these calls and the program are the icing on the cake, it’s part of a beautiful day.”

I also continue to work as a community and freelance musician performing with organizations such as Orchestra Toronto and the Marquee Theatre in the York Region.

Kaitlyn: What led you to join Room 217?

Dawn: After teaching in the classroom, I still engaged with the stories of my community and how my students could engage with community members through music and the arts. I developed this model of community arts project while in my Master’s at Wilfrid Laurier University in the Community Music Program. This is also where I first met Bev Foster. I instantly fell in love with the work of Room 217 and Bev’s story. I even began bringing my students to the Music Care Conference.

I had not discovered another place that brought people together in the music and health sectors quite like this. I have always been inspired by the way that Room 217 allows individuals to share space with each other in the music care approach – the intentional use of music for better care outcomes. The impact of the work of Room 217 and the role of music in my life transitioned during this time, to bring into focus the role of music in the community from a process point of view – how music accompanies us on life’s journey.

I decided to come work with Room 217 as the Education Manager after formally leaving classroom education with the York Region. I would say that my decision to come to Room 217 is directly related to the impact of music on my life. I feel like I can now work in a place where music feels like home, and where the work is fulfilling. Music makes life better, and the journey to better understanding this has led me to Room 217.

Kaitlyn: Is there anything else you want others to know about you?

I am a mom to two beautiful children, Julia and Aidan, and I believe in social justice work through the arts. Throughout my high school years, music gave me a sense of belonging to something. It provided a framework for meaning and social connection. To this day, I am still in touch with many friends that I went to high school with. It was during this time that I began playing at retirement homes, community events and other spaces, and started to learn how music impacts others. It was through these community opportunities that I began to develop a sense that music can reach others, that music allows us to connect with others, and that music can have a very unique impact on others when considering one’s life journey or wellness.

What touches me about Dawn’s story is how her love for music and her community drives her to create new ways for meaningful interaction - human connection is at the heart of it all.

The Faces of Room 217 - Kenna’s Story

Fri, 16 Dec 2022 18:01:47 GMT

Meet Kenna Kozak. Kenna is the Operations Manager at Room 217. With her multifaceted and diverse career background, she provides operations support, and plans and coordinates events for Room 217. I asked her some questions about her life before Room 217 and how these experiences shape her role at Room 217.

Kaitlyn: How has music impacted your life?

Kenna: Music has been an integral part of my life, as far back as I can remember. Both of my parents had a true love for music and we always had music in the background around the house, whether it was the classics on CBC radio , my mom’s favorite albums, or us kids tinkering away on the ivories. I completed exams with the Royal Conservatory in both piano and singing, competed in the local and regional Kiwanis Festivals, performed in local plays, and I was a member of the Hamilton Children’s Choir for several years. I even had the opportunity to sing on an album with Bob Schneider, a well-known children’s artist. Later on I discovered that my dad’s mother was a singer featured on the local radio in Ireland. So, I guess you could say that music is in my blood.

Kaitlyn: What did you do before Room 217?

Kenna: I have been very fortunate over my working career to have held positions that afforded me to grow and expand my knowledge in so many areas and industries. I was in the broadcast industry for 15 years working on shows like the Juno ’s and the Skydome’s opening ceremonies. I worked full time at TSN for many years creating graphics, shooting and editing. Under the same umbrella company I assisted in the launch of a new Discovery Channel Canada, where I was the head editor and a resource producer for a number of years. Later on my husband and I moved to Alberta. I worked for a production house, and I was part of launching an inaugural national sports franchise in Canada. I then transitioned over to work for a high-tech company called Dynastream Innovations which was acquired by Garmin GPS, in the small town where we lived, finding myself to be Human Resources, Office Manager and the Accounts Payable Department. What an amazing learning curve. When we moved back to Ontario nine years later, I became the Executive Director of the Port Perry BIA and Scugog Chamber of Commerce, along with running the Visitor and Business Centre within the community – which became one of the top five places to visit in Ontario. To say I’m a multi-tasker and a person who likes variety is an understatement.

Kaitlyn: What led you to join Room 217?

Kenna: My parents' failing health brought us back to Ontario. In 2008, they both passed away within 23 days of each other. We got to experience first-hand our long-term care homes and health systems in Ontario. During this period of my parents decline, there was a noticeable absence of music in health care spaces. All you could hear were the beeps, buzzers and hissing noises of machines. The lack of music was deafening. Along the way Bev Foster and I had the opportunity to talk about the Room 217 Foundation. The mission immediately struck a chord with me. In the first few months of Covid, Bev reached out to see what I was up to. Still in the position I had held for 13 years, and like many during Covid, I thought it was time for a change. So here I am, and I will be celebrating three years with Room 217 next August.

Kaitlyn: Is there anything else you want others to know about you?

Kenna: I am a cancer survivor (before my time at Room 217). While in treatment, there was one time when a tech played music in the radiation treatment room. I remember it immediately took away all the anxiety I did not know I was carrying, and it put me in a completely different headspace of relaxation. Unfortunately, this only happened once, and when I asked why, they told me it was because it was not allowed or encouraged. I thought to myself, if people were able to enjoy their own personal playlists as they navigate their way through a life changing event, this could make a difference to many.

Kenna’s story teaches me that we are the sum of our experiences, and that we can always use them to make a difference in the lives of others.

The Faces of Room 217 - Chelsea’s Story

Fri, 16 Dec 2022 17:52:27 GMT

Meet Chelsea Mackinnon. Chelsea is the Research Lead at Room 217. As the founder of Intergenerational Music Hamilton and a teacher of music and health at McMaster University , Chelsea uses her experiences in health and wellness settings to research the impact of music care on receivers and providers. I asked her some questions about her life before Room 217 and how these experiences shape her role at Room 217.

Kaitlyn: How has music impacted your life?

Chelsea: Music has been a source of joy and fun in my life for as long as I can remember! I am super grateful for my time growing up playing the piano, French horn, trumpet, violin, and singing in choirs. Music gave me so many unique opportunities, including travelling to awesome places with great people. One musical memory I will never forget is the time that my friend Karis and I wrote a 30-minute musical. We wrote all the music, lyrics, recorded backtracks and then performed it in our high school English class!

Kaitlyn: What did you do before Room 217?

Chelsea: Before Room 217 I was a student! I think it is fair to say that my role at Room 217 was my first “real job” in the field in which I’m building my career. I completed my undergraduate studies at McMaster University in the Bachelor of Health Sciences program, and was in the middle of my MA in Music and Health Sciences at the University of Toronto when I met Bev!

Kaitlyn: What led you to join Room 217?

Chelsea: I love telling this story! I met Bev Foster when she was a guest speaker in my Intro to Music Therapy course at the University of Toronto in my Master’s degree. I was immediately captivated by her energy, and felt so aligned to her work based on what I’d been working on in Hamilton communities (using music in the context of intergenerational programs to foster connection). Bev and I had a meeting to discuss our work further, and the rest is history! I’ve been happily working hard to support Room 217’s mission and vision ever since.

Kaitlyn: Is there anything else you want others to know about you?

Chelsea: Now, I’m super lucky that music is a part of my work as well as my personal life. I regularly lead sing-alongs in community care spaces in Hamilton with my organization IMHope. IMHope’s mission is to create opportunities for older adults to engage in a meaningful way with their community through music and intergenerational connections. I have the opportunity to teach caregivers about the different ways they can use music to improve the care experience for the people they care for in my role at Room 217 by contributing to research on the use of music in care at Room 217 and in partnership with McMaster University. So I’d say that music is a hugely important part of my life, and I’m so so grateful that I get to engage with it in so many diverse ways, almost every day of my life!

Chelsea’s story reminds me that when our passions and our work align, we can create something extraordinary in the lives of others.

The Faces of Room 217 - Tanya’s Story

Fri, 16 Dec 2022 17:42:34 GMT

Meet Tanya Albis. Tanya is the Administrative Coordinator at Room 217. She comes to Room 217 with years of experience in the customer service field and Not-for-Profit sector. I asked her some questions about her life before Room 217 and how these experiences shape her role at Room 217.

Kaitlyn: How has music impacted your life?

Tanya: Music has always been there for me, the good times and the bad. When my dad passed away, I had to put together the music for his funeral and I remember the peace it gave me. This was a gift I could give him and the others that attended. I have always loved music, as a way to heal, to mourn, and a way to bring joy.

Kaitlyn: What did you do before Room 217?

Tanya: Before Room 217 I worked for the Clarington Board of Trade for eight years, doing events and membership. I also worked in the service field. My husband’s family owned a restaurant in Oshawa so I worked there as well.

Kaitlyn: What led you to join Room 217?

Tanya: I knew I was ready for a change. I knew I wanted more, wanted to be able to do more. I had been studying a new holistic way of life. I am a Reiki Master and I have studied divine healing and iridology. I also knew Kenna from a previous job. When we talked and she told me where she was working, I knew I wanted to be involved.

Kaitlyn: Is there anything else you want others to know about you?

Tanya: I’ve lived in Port Perry for 12 years, I’m married with two grown kids and a dog and a cat. I love all music (but I’m not a fan of country). I think there is nothing better than a live concert and sharing that love with everyone around you. I believe that music can bring you to the heights of your feelings – complete joy to sadness within seconds. Nothing else can do that. I put together the music for my father’s funeral 11 years ago, everything from Jump by Van Halen (his favorite at weddings) to Blackbird (our dance at my wedding), and of course an Adele song in there for a good cry. My background and work at Room 217 have made me realize that not all treatments are done by medications. Putting good things in your body, like vitamins and herbs, and good things in your brain, like music and positive affirmations, can be just as powerful.

Tanya’s story inspires me to connect with myself and to embrace the things in life that make us feel whole.

The Faces of Room 217 - Bev's Story

Fri, 16 Dec 2022 17:24:57 GMT

Meet Bev Foster. Bev is a co-founder of the Room 217 Foundation and its Executive Director. She is an experienced performer, songwriter and music educator. I asked her some questions about her life before Room 217 and how these experiences shaped the creation of Room 217.

Kaitlyn: How has music impacted your life?

Bev: Music has always been a part of my life. Mom said I began to pick out tunes on the piano when I was two. I was one of those kids that enjoyed taking piano lessons. I had amazing musical opportunities for growth at high school and in my church growing up.

Music helps me express myself, especially when I’m working something through. It becomes this emotional container for me to pour into, whether it is instrumentally on the piano, or when I write songs. And I have found that music can hold the whole palette from my joy to sorrow and everything in between.

Often, my songs hold universal meanings and others resonate with them. In this way, music helps me communicate with others. Music is an intrinsic part of my spiritual practice and is an essential part of how I serve my community. It has always been something we do – not just listen to – in our home. So I feel connected to my partner, kids, grandkids, and friends through the music we have shared together.

Kaitlyn: What did you do before Room 217?

Bev: Before Room 217, I was a music educator. I taught for the Durham District School Board in both elementary and high school, leading bands and choirs, and developed a keyboard lab. As our family grew, I moved out of school music education to a home studio working with children and adults. I also freelanced as musical director and accompanist with various choirs, churches and community groups around the GTA.

Kaitlyn: What led you to create Room 217?

Bev: When my dad was dying, music played a significant role in how I cared for him. In his last few days in a hospital room #217, music filled the space for my family, and it was how we were able to say goodbye to dad. That night, I left with two questions: Is there anything more powerful in life and death than music? Do caregivers have the resources they need to support their loved one with music?

These two questions continue to drive our work. We work not only with family caregivers, but professional caregivers like nurses, recreation therapists, administrators, and chaplains to provide music care training and designed music in order that they can more effectively integrate music into their regular practice.

Kaitlyn: Is there anything else you want others to know about you?

Bev: Although I’ve been working for more than 15 years now at developing the music care approach – that is the intentional use of music by anyone to improve health and well-being of self and others – we’ve just scratched the surface. My vision is to see music as care integrated and sustained in health and social care as a more primary approach, leveraging true relational and person-centered care . By working together with other stakeholders and practitioners who share this value I’m excited about the growing impact we can have together in changing the culture of care.

My key takeaway from Bev’s story is that one moment in time defined the importance of music in care spaces, and that through her own experiences, she has helped create this moment for others.

Key Learnings From the Music Care Conference 2022

Wed, 07 Dec 2022 14:51:20 GMT

On Saturday November 5, 2022 the 12th annual Music Care Conference was held in New Westminster, BC. This year’s theme? Music & Wellness.

The Global Wellness Institute defines wellness as the active pursuit of activities, choices and lifestyles that lead to a state of holistic health. While some might think wellness equals health, wellness is not limited to a static state, but rather an active process.

At Music Care Conference 2022, we explored this process. Specifically, we looked at how music can provide a pathway to both physical and mental wellness through presentations, performances and workshops on all things music and health.

Through the conference, two key learnings emerged: the healing power of music and the importance of person-centered care.

Whether it was Dr. Heather Mohan’s use of song, poetry and story to open our hearts and minds to the love and community that music has to offer, Dr. Kristine Theurer’s presentation on the use of music to beat loneliness in dementia or Esther Thane’s immersive experience using music to refresh and self-regulate, the healing power of music was experienced by all the Music Care Conference.

One word that came to mind throughout the conference was resilience. Resilience is the ability to bounce back when challenges arise. I think we can all agree that the past two years have brought challenges, and plenty of them. However, what music gives us is resilience. It teaches us to push past discomfort, it teaches us that we are capable of more than we think, and most importantly, it teaches us to care for ourselves and others.

What I experienced at the Music Care Conference is that person-centered care is at the core of the music care approach. From learning to create a person-centered music program with Dawn Ellis-Mobbs, to Bev Foster’s research on intercultural soundscapes at the end of life to Dr. Susan Aglukark’s inspirational performance on her culture, the strength and resilience of the Inuit, person-centered care was at the core of it all.

The Music Care Conference brought us all together for one common goal—to share and experience how we can enhance quality of life and improve the care experience through music.

Whether you work in care spaces, care for a loved one, or you’re just curious to learn more, save the date for next year’s Music Care Conference on Friday, October 27, 2023 in Ottawa, ON.

Honouring Our Companions

Wed, 30 Nov 2022 14:32:25 GMT

The mission of Room 217 Foundation has been strengthened by a host of contributors. Ever year since 2005, Room 217 thanks our closest supporters by honouring them as Companions of Room 217. Each one has contributed in a unique way. Each one believes with us that music can make an improvement to the care experience. Each one shows it by their actions.

Our Companions represent a variety of types of partners we work with including volunteers, distributors, suppliers, staff, donors, customers, directors of the Board, and other professional colleagues.

We want to honour our Companions, say thank you, and recognize their contributions. Companions are chosen on an annual basis with an awards celebration every two years. A complete list of Companions is found by clicking on the link.

We appreciate the contribution of these 7 new Companions who have made significant contributions in 2021 and 2022.

Susan Aglukark has generously shared her story and music at our music care conferences in Fredericton, Calgary, Waterloo, and New Westminster. Susan headlines Room 217’s benefit concert, Voices that Care in 2023. We appreciate Susan’s companionship along the journey.

Innovasium has helped us develop our re-branded website musiccare by Room 217, our CONNECT app digitally delivering our products, and a portal for our training and certification programs. Their light-hearted approach has made these projects fun and enjoyable.

Sonia Brown has exceptional leadership skills in human resources, coaching, and team-building which have been well leveraged and appreciated as she has chaired the Board through the challenges of the pandemic. We have thrived under Sonia’s leadership.

Lee Bartel has had a tremendous influence on the development of the music care approach, our research arm, and the musiccare CERTIFY program. A lifelong learner, educator and global influencer on music and health, Dr. Bartel is professor emeritus of the Faculty of Music at the University of Toronto.

Susan Scott Gabe has catalyzed the musiccare CERTIFY program into a quality improvement program for care organizations. Her intimate understanding of the healthcare system as a nurse and homecare business owner has provided a wealth of wisdom as we operationalized the various elements.

Kenna Kozak jumped in with both feet as Operations Manager of the Room 217 Foundation in the first months of the pandemic. A wizard in all things technical and production, Kenna was able to shift Voices that Care from a stage to TV production and coordinate our first virtual global Music Care Conference.

Donna Cansfield has been a valued member of the Room 217 Board serving two terms. Her experience and expertise in governance provided a solid policy and compliance framework. She helped to create our Legacy Fund. Donna’s perspective is always informed, always for the betterment of Room 217.

Supporting Health & Well-being Through The Voice: Song-Writing And Singing, Rapping, DJ-ing, Poetry, And More

Tue, 29 Nov 2022 20:39:26 GMT

When the Participatory Creative Music Hub put out an Open Call for projects with a focus on Health, we never guessed that so many of the projects would center around creative expression through the voice! From singing and song-writing to DJ-ing, poetry and rap, the projects demonstrate the incredible range of ways in which the voice can be used to support participants’ health and well-being.

For example, Haida Elder Jiixa (Gladys Vandal) and settler Julia Weder team up in Preserving Language Through Music & Film to share language and creativity through rap music videos. As Julia writes, this project “was intended to support Jiixa in her own language-sharing and creative visions, as she is hugely motivated to share the language now that she is diagnosed with ALS and has limited mobility”.

Watch and listen to the music video ‘X̲anjuudal Travelling to Vancouver’ in which we not only see and hear the transmission of language, but also the connection and ready laughter shared by Jiixa and Julia.

In another use of voice, Laura Gillis’ Vintage Voices features members of a long-term care centre who DJ a radio show based on the Participatory Creative Music Hub put out an Open Call for projects with a focus on Health, we never guessed that so many of the projects would center around creative expression through the voice! From singing and song-writing to DJ-ing, poetry and rap, the projects demonstrate the incredible range of ways in which the voice can be used to support participants’ health and well-being.

In another use of voice, Laura Gillis’ Vinta the music of their choice. The purpose of the project is to provide a DJ with a platform to share the music they love and their thoughts on this music, and as Laura writes, “bring these voices to the rest of society via short radio clips’. Laura writes, “In my work in Long Term Care, I witness the negative effects of our society’s ageism and ableism: Individuals living in Long Term Care, families, and healthcare providers often struggle to have a voice, to be noticed, valued, and to receive the support and recognition that is needed. The tone of Vintage Voices is light and fun, however it serves to amplify seldom-heard voices and to put a face (or rather a voice!) to individuals living in these settings, allowing them to show the value of life at every stage.”

Go to Vintage Voices to listen to three DJs’ radio clips.

Using a poem written by a participant, Naila Kuhlmann’s Piece of Mind: Understanding And Comunicating Parkinson’s Disease Through Music And Poetry , features a collaboration with poet Lili Saint-Laurent, a woman living with Parkinson’s Disease (PD), and musician Caroline Barbier de Ruelle. Lili’s poem Sur le fil (On a wire) is an expression of her day-to-day experience of PD, and served as the starting point for a creative process between Lili and Caroline. See this video for a description of the process used, the thoughts of the participants, excerpts of the creative process and the resulting circus piece that features Lili speaking her poem.

For those participants who express themselves readily through non-language based vocal expression, Geremia Lodi’s Silent Rhythms features participants who create silent ‘movement phrases’ that are then interpreted vocally. See this video tutorial for a demonstration of the process used to create both movement and it’s interpretation in sound.

Multiple projects focused on collaborative songwriting. For read more about the processes used, and listen to the music, see:

There clearly many ways of supporting health and well-being through the voice. If you have more to share, consider submitting to the PCM Hub! See HERE to create and account and submit, and reach out to Louise Campbell at mlouisecampbell@gmail.com for more information.

Thoughts from a Music Therapy Intern: Part 2 Why Music Care? A Music Therapy Intern's Perspective

Thu, 17 Nov 2022 14:09:54 GMT

I learned about Music Care by Room 217 before I became a music therapy intern. As I was starting to learn about music in healthcare I watched a presentation by Bev Foster about the work she was doing at Room 217 and I felt inspired.

Now as a music therapy intern, I have an even stronger appreciation for Room 217. Between trainings, skills days, webinars and conferences, there are endless opportunities to learn about the different ways music can be integrated into care spaces.

So as a music therapy intern, why Music Care?

Music therapy is the intentional use of music to bring about changes in behaviors. Whenever I work with a client, I always ask myself “How is music driving the change? What in the music is making a client react this way?” What I love about musiccare by Room 217, is that it is the intentional use of music by anyone to improve the health and well-being of self and others. It’s researched, it’s evidence-based, and most importantly, it works. The beauty of Music Care is that anyone, regardless of their background, can utilize these musical tools to help others. Whether you’re a teacher, a nurse, a social worker, or a family caregiver, you too can use music to help others. What is special about music is that even if you don’t know how to read music or play an instrument, you can still utilize music and the components of music to make a change in the lives of others. These trainings and programs have all been designed so that the average person can effectively integrate music into their regular practice, whatever that might be.

As a music therapy intern, I love anything that combines music and healthcare. Bringing the intentional use of music into different spaces shows others the healing power of music and helps to spread awareness about music therapy and music in care. The more people that music can reach, the more people that music can help, the better. As a music therapy intern, I share Room 217’s vision of wanting to see music as care integrated and sustained in health as a primary approach.

Something we talk a lot about in music therapy is the functional transfer to everyday life. How can these goals expand beyond the session and into the client’s day to day life? Providing caregivers with the resources they need to support their loved ones is critical, and that is exactly what musiccare by Room 217 does. It gives caregivers the tools they need to help their loved ones on a daily basis. The more we intentionally use music in the lives of others, the more likely the benefits are to carry over and continue to make meaningful differences in their lives. So as a music therapy intern I am excited by the music care approach and all it has to offer, because together we can all change the culture of care.

Thoughts from a Music Therapy Intern: Part 1 A Day in the Life of a Music Therapy Intern

Thu, 17 Nov 2022 14:01:36 GMT

Have you ever wondered what a music therapy intern does in a day?

My name is Kaitlyn and I am a student in the Applied Music and Health program at the University of Toronto where I study neurologic music therapy. With about 400 hours left of my internship, this is what a typical day looks like for me!

After I wake up and get ready, I check my Google Calendar for the day. Between classes, assignments, sessions and supervision meetings, it’s critical to stay organized.

While some of my sessions are virtual, I also travel to long-term care homes, community centers, and even client’s houses! One thing I’ve learned as a music therapy intern is often the job requires a lot of travel between music therapy occurs in so many different settings. Traveling to different places often means bringing my own instruments. Whether it’s my piano, guitar, autoharp or drums, I always have a bag of instruments with me.

Before every client I read through my session plan, run through my repertoire and practice the different exercises I’ve created so that I feel confident. And while it’s important to be prepared with a session plan, if I’ve learned anything this past year it’s that you have to be flexible. Being a music therapy intern means being adaptable. Sometimes sessions don’t go according to plan. Maybe the client is having an off day or the setting you’re in has complications. Whatever it may be, thinking on your feet and shifting gears is a necessary skill to have!

Usually after a session I have a meeting with my supervisor and co-therapists about the session. This includes observations we had about the client, their responses to the musical exercises, how we felt about the session and what we might change for next time. One of my favorite things about being a music therapy intern is having the opportunity to learn from music therapists and implement their feedback. It is very rewarding to see how small changes can have a big impact!

After supervision, I usually write something called a SOAP note. S stands for subjective, O stands for objective, A stands for assessment and P stands for plan. SOAP notes are a form of documentation that tell you about the clients’ behaviors in the session, their responses to the music, their progress towards their individualized goals and objectives, and finally plans for the next session. A large part of being a music therapy intern is analyzing and observing. I am always watching my clients to see how they react to the music, because in music therapy the focus is on how music is driving the change.

When SOAP notes are done, it's time to start planning the next session. This involves researching diagnoses and treatments, learning new repertoire and planning exercises based on the clients goals and objectives to ensure that we’re working towards them every session.

The beauty of being a music therapy intern is that every day is a little different. I love working with different populations and exploring different settings. But most of all, I love using music to help others every single day, and I wouldn’t have it any other way.

Experience for Yourself the Effects of Neurologic Music Therapy at Music Care Conference 2022

Tue, 01 Nov 2022 14:26:42 GMT

Have you ever wondered what happens in the brain when you listen to music?

This question falls under something called the neuroscience of music. It helps us to explain things like why we move to the beat when we’re listening to music, or why that one specific song transports us back in time.

Did you know there’s something called neurologic music therapy?

Neurologic music therapy or NMT for short, is an evidence-based treatment model based in the neuroscience of music cognition, perception and performance. It uses the different elements of music, like rhythm, melody, harmony, tempo, and dynamics, to achieve functional goals in the domains of cognition, sensorimotor, speech and language. By manipulating the different elements of music, a neurologic music therapist can optimize brain function or even create new neural pathways in the brain. Guided by research, a neurologic music therapist focuses on the neuroscience of music and how the different elements of music can drive changes in the brain and influence new behaviors and functions.

Curious to learn more? Dr. Corene Hurt-Thaut’s presentation “The Effects of Neurologic Music Therapy” at the Music Care Conference on Saturday November 5, 2022 will explore how music can drive the change within us.

Dr. Corene Hurt-Thaut is a neurologic music therapist and educator. She is the director of the MMus in Applied Music and Health at the University of Toronto, an associate professor at the ArtEZ School of Music - ArtEZ Conservatorium in the Netherlands and the co-founder and program director of The Academy of Neurologic Music Therapy. She is internationally recognized for her clinical expertise in the evidence-based practice of Neurologic Music Therapy with numerous research publications on music and motor control.

Whether you’re attending live in New Westminster, BC, or virtually from your home, you will experience the transformative power of music in the areas of cognition, sensorimotor, and speech and language through case studies on clients with Parkinson’s Disease, dementia and acquired brain injury.

Student, senior and group pricing available.

Using Music for Self-Care at Music Care Conference 2022

Wed, 19 Oct 2022 14:47:02 GMT

One of the things we’ve learned as a result of the pandemic is that self-care is critical. For those of us caring for others, self-care is a necessity, so we can be energized with a healthy mindset as we care for others.

Caregivers are caring people, we love to help others, even if that means sometimes neglecting ourselves. The truth is that in order to care for others, you have to care for yourself.

One of the workshops being presented at the Music Care Conference on November 5 is all about using music to feel refreshed, calm and self-regulated. BC music therapist, Esther Thane, is presenting Rooted in Music: Relaxation for Self-Care is an immersive experience focusing on deep breathing, progressive muscle relaxation and positive affirmations to relax the body and soul. More than just theory, Esther will take you through an experiential journey so that as you integrate these small acts into your everyday life, you might find you start to feel a little lighter, a little brighter, and a little more equipped to handle responsibilities of care.

Esther’s work over the years has focused on Autism and early intervention since 1996. In 2021, she received the Peer Recognition Award presented by the Canadian Association for Music Therapists for her innovative work. She will also be presenting Meet in the Music: Practical Tools for Working with the Autistic Child” where she will explore the use of music in interactions with children with Autism.

Student, senior and group pricing available.

Experience for Yourself The Soothing Power of Music at Music Care Conference 2022

Thu, 06 Oct 2022 16:02:01 GMT

Do you find yourself burnt out? Maybe tired, stressed and overwhelmed after a long day? Let me be the first to tell you, you’re not alone. As Zoom meetings from your home turn into days at the office, we’re all feeling the fatigue of the last two years.

If you’re reading this, maybe you’re someone working in a care setting or you’re someone who cares for their loved ones. As things slowly return to “normal,” now more than ever, self-care is critical. For those of us caring for others, self-care is a necessity, because without caring for ourselves, we cannot care for others.

Caregivers are caring people, we love to help others, even if that means sometimes neglecting ourselves. But I’m here to tell you that in order to care for others, you have to care for yourself too.

If you’re reading this, maybe you already use music to help care for others, or you’re just learning about the healing powers of music. Wherever you are in your journey, I challenge you with this: we use music to help others, so why don’t we use music to help ourselves?

Esther Thane’s presentation “Rooted in Music: Relaxation for Self-Care” at the Music Care Conference on Saturday November 5, is all about learning how you can use music to feel refreshed, calm and self-regulated. This immersive experience will focus on deep breathing, progressive muscle relaxation and positive affirmations to relax the body and soul.

The best thing about these techniques? You can use them anywhere. Whether you’re driving to work and focusing on deep breathing, squeezing and releasing your muscles during a lunch break or speaking positive affirmations to yourself throughout the day, these small acts will begin to change your relationship with yourself.

These acts may seem daunting at first, just another item to add to your to-do list. But as you integrate these small acts into your everyday life, you might find you start to feel a little lighter, a little brighter, and a little more equipped to handle everything the world has thrown your way.

Esther Thane is a music therapist and educator. She has focused on Autism and early intervention since 1996. In 2021 she received the Peer Recognition Award presented by the Canadian Association for Music Therapists for her innovative work and contribution to the Canadian music therapy community. Live from New Westminster, BC, Esther will take you through an experiential journey as she shares how music acts as self-care. Want to see more by Esther? You can also catch her presentation “Meet in the Music: Practical Tools for Working with the Autistic Child” where she will explore the use of music in interactions with children with Autism.

Student, senior and group pricing available.

To Feel is to Heal

Thu, 29 Sep 2022 18:30:58 GMT

Music is a convergence of notes, that vibrate with an energy that is connective and communicative with a power that transcends languages, culture and knowledge with a sublime beauty that can bring you to tears and to your feet to shout and dance in revelatory joy. One of the purest expressions of the human spirit that moves us collectively perhaps like no other art form that exists in the world. Picture the world holding candles and singing Imagine together to come together and heal after a tragic event, a couple dancing again to their wedding song fifty years later that are transported back to that very moment, in its feel and sublime beauty, a child, hearing his mother’s heartbeat that echoes through its body like a pow wow drum waking them to the wonder of the world and life. The extraordinary capacity of music to waken an elderly person from the tragic dormancy of dementia and enable them to sing every word, because it lives in the strongest part of their memory, their deepest and most profound connection to the glory, splendor and travails of life.

Music is universally acclaimed to possess an almost supernatural, hypnotic allure that is steeped in folklore and legend, Robert Johnson selling his soul at the crossroads in a deal with the devil that gave him his incredible talent, the voodoo rituals of Haiti that crossed into New Orleans and it’s Cajun rhythms of the South, the music from Africa that travelled on slave ships and grew from the field hollers to gospel, blues and country and rock and roll that changed the world. In the complexity of Jazz and classical music we marvel at the convergence of harmonic notes and melody that speak to the very wonder of the universe itself.

When we look back to our ethnographic roots, we find music in ritual and ceremony, steeped in traditions that supersede our modern understanding of 4/4 time and pop song simplicity and live deeply within us reminding us of our innate capacity to feel and be human. Ancient cultures wove music into the fabric of their lives that was beyond mere entertainment, but a reflection of life itself, celebrating birth, death, marriage, harvest, disaster and triumph. It was born of simple movements, a foot stomp, a clap, a shout to the heavens, shared with the love and depth of feeling that comes from ritual. This same depth of feeling we see in a Baptist Church or on the fields of a Pow Wow. The cry of the Pow Wow singer is like a thousand years of history, generations of families and stories intertwined around the rhythmic cadence that grips your heart and soul in a warm embrace. When I hear the sound of many hands in unison pounding the massive drum with all of their strength as if every hit is cleansing their very being, it is as if the entire Earth has moved. Perhaps it has, for this drum is a gift from the Earth mother and is blessed with the wisdom and love of the creator. In every chant I hear a voice from the past, loved ones come and gone, family circling around, warmth and love and acceptance of every frail part of humanity, glorious and broken. For that is love, a part of us that may have been in front of us our entire lives but perhaps obscured by doubt and fear. It is love that sets us free in that moment of acceptance of every part of ourselves. This is the healing. What we search for and hope for and what this most ancient of traditions offers if we will accept it, power, grace, beauty, hope and wonder at the majesty of life.

This year when we gather for healing and remembrance on Sep.30 ^th , let us open our hearts to the healing power of tradition, open our minds to the beauty of culture, and grow together in this truth, so that we can work towards reconciliation and contribute willingly to the Indigenous resurgence that is a responsibility of citizenship and a moral obligation to humanity.

Silence in the Soundscape of Mourning

Tue, 20 Sep 2022 17:08:12 GMT

Yesterday, I joined with millions around the world, and watched the final good-bye to Queen Elizabeth II . I was deeply moved by the simplicity of the services at Westminster Abbey and St. George’s Chapel .

Sure, there was the pageantry I expected from the Brits and the Anglican tradition. What I didn’t expect, and what continues to resound in me, is the silence that defined much of the mourning soundscape.

Crowds in the streets were reverently silent. The church goers entered and held themselves in a quiet reverence. There was the 2 minutes of silence that was planned. And then there was the piper, the queen’s private piper, whose drones and melodic strains of the lament, Sleep, Dearie Sleep , faded into silence.

While the music of the hymns, the solemn beats of the marches, the last post and the rich timbres of the pipe organs connected us in our grief, for me, it was the silence that was most poignant.

Sometimes silence can be uncomfortable. It didn’t feel like that for me. The silence was a musical pause in the pageantry and commemoration for reflection and collective mindfulness, a pause from content.

This pause of silence allowed me to look around and take in with wonder and gratitude, all that was unfolding in the Anglican ritual, the intentional planning, the message and spirit of a remarkable life – it gave me time to breathe and remember.

Rituals of mourning are often intentional and hold their liturgies and traditions. For example, cremation and sprinkling ashes, shiva, 40 ^th day celebration, special meals, prayers, wailing, celebrations of life and keening – all have their religious and cultural histories and hold personal meaning for the mourners.

Music plays a significant role in many of these mourning rituals. It appears so does silence. May we not be afraid and embrace the good things that come from silence in the soundscape of mourning.

Experience for Yourself How Music Heals at Music Care Conference 2022

Tue, 13 Sep 2022 13:14:19 GMT

Have you ever wondered why people use the expression ‘the healing power of music’? If so, you’re in the right place. This year’s Music Care Conference by Room 217 is all about music and wellness.

A single Google search on the healing power of music yields thousands of results. Whether it’s music’s ability to change or evoke emotions, to stimulate memories, or to influence physiological responses, the list goes on and on.

Think about your own life. In the highs and lows, was music there? Whatever it may be, I can almost guarantee you that music played a part in these life moments.

When we’re happy, we put on music to dance to. When we’re anxious or scared, we put on music to soothe us. And when we’re sad, we put on music to comfort us. Even in our darkest moments, music is something tangible to hold onto. The way it makes us think, the way it makes us feel, the way it makes us believe that no matter what is happening now, things will be, and can be better.

So wherever you are in this journey, I know music has touched you, moved you. Whether it’s the big moments or the little moments, music has played a part in creating the highlight reel of your life, helping to transform experiences of pain and isolation, into experiences of love, belonging and community

I think we can all agree that the past two years were hard. The pandemic brought pain, suffering and isolation to all of us, especially those in care settings. But what time has shown us, is that music does in fact heal us.

If these words resonate with you, you’re exactly where you need to be. If you’re curious to learn more, to look into yourself and explore all the ways that music has impacted your life, you might enjoy Dr. Heather Mohan’s presentation “Be Still, My Heart: Reflections on the Healing Power of Music, Love and Community” at the Music Care Conference on Saturday November 5, 2022.

Both a registered clinical counselor and accredited music therapist, Dr. Mohan has years of experience supporting children, adults and families through serious illness, grief and loss in the field of hospice, palliative and bereavement care. Whether you’re attending live in New Westminster, BC, or virtually from your home, Dr. Mohan’s use of song, poetry and story to explore the healing power of music will open your heart and mind to experience the love and community that music has to offer.

Early pricing is in effect until September 15. Student, senior and group pricing available.

I Just Wish Someone Would Dance With Me

Fri, 05 Aug 2022 14:25:11 GMT

The impact of COVID in care settings, specifically Long-Term Care, has been monumental with social programming being set aside for safety protocols and PPE. Although the movement to a more medical model of care makes sense from a safety lens, we are now realizing the devastating effect this has had on residents as they express helplessness, loneliness, isolation, and boredom.

In December 2021, Patient Ombudsman, Craig Thompson, was interviewed about the recent report entitled “Honouring Voices and Experiences, Long-Term Care Home Survey” where he suggests hiring more Recreation Therapists to offset the impact of restrictions. Elaine, an 85-year-old woman with dementia was quoted as saying ‘I just wish someone would dance with me.’ She acknowledges that her physical needs were taken care of as she was clothed and fed, but her greatest desire was for someone to stop and dance with her.

The music care approach has been taught for over 16 years by Room 217. Our Level 2 Music Care Training talks about the 5 human domains being spiritual, cognitive, emotional, physical, and biological and how music works to meet needs in all areas. Recreation Therapists are trained to understand mental, physical, psychological, social, and spiritual domains of residents and develop programs providing care based on the needs of residents. When music is used by Recreation Therapists, the outcome is better quality of life for all, staff included.

Our upcoming Masterclass is open to anyone with Level 2 or 3 Music Care Training, and all LEARN and CERTIFY members. On August 18th, we will be hosting a Dance Therapist and Teacher, Katherine Mandolidis of Ballet Edmonton who will walk us through a series of music and movement that can be added as an everyday wellness routine or break. Join us for music, movement and conversation and let’s bring some light back into the lives of those that need the music most.

In the meantime, let’s all seek inspiration from the viral video of Marta Cinta Gonzalez, a former ballet dancer living with Alzheimer’s, come to life when she hears the music of Swan Lake. Watch video

Link to report noted in blog:
https://www.trontario.org/files/Advocacy/TRO-LTC-Commission-Submission-Nov-2020.pdf

Allen's Playlist

Thu, 30 Jun 2022 18:10:18 GMT

This past week I attended and played music for the passing of a close family member after a brief illness. As I entered the funeral home, I was drawn to a table beside some pictures and mementos that included a sports jersey, baseball glove, guitar, and accordion. It was a loving tribute to a person that wore many hats in life. Although Allen Ellis was known around the community as an active and skilled athlete, those fortunate to have a closer window into his life knew about his passion for music and a good old-fashioned tune. As I approached the table, I noticed a hand-written songlist written on a piece of blank paper that really captured my heart.

There it was, in his own writing, a song list that he had created. The titles, penned very carefully, were crafted with thought and purpose. I couldn’t help but wonder why these titles were selected. What was the connecting thread between them? Did they hold special memories for him or were they selected because they were old favourites that were easily played? Perhaps it was a bit of both...

Once I started scrolling the list, I carefully placed these songs within my own experiences and soon realized that this was probably his best campfire playlist. I couldn’t help but smile to myself as I pictured him once again, full of life, singing a few of these tunes with family and friends joining in. Although there were many predictable titles on this list, a few surprised me and unlocked a way of knowing him that I hadn’t experienced before.

As I glanced down at the playlist, I was reminded of a field trip I was on with high school students at the Rock and Roll Hall of Fame in Cleveland. What struck me most as I toured the exhibits were the handwritten song lyrics on hotel scratch pads, napkins, coasters, and cigarette packages. Having a window into the birthplace of famous tunes, penned in original handwriting, allowed me to imagine how the magic unfolded in those moments of creativity. I took one last glance at Allen’s playlist and went home and celebrated him by listening to a few of his old favourite tunes, grateful for the connection music brings to our lives.

Thoughts on a Summer Playlist

Tue, 21 Jun 2022 15:32:24 GMT

The arrival of June can stir up feelings of renewal with the start of summer and yet in the same breath, June symbolizes a sense of closure for people and organizations that follow a school year calendar. As Room 217 ends our season of education offerings and prepares for the fall, I wonder if we’ve taken a moment to pause, reflect, and ask ourselves “are we okay?”

With summer on our doorstep, it is the perfect time to consider creating a playlist of songs for self-care that bring a smile to our faces and inspire a moment of joyful reflection. This is one of the beautiful attributes of music when thinking about person-centred care that applies to self-care too. We are all unique beings and our experience with music is as individual as our fingerprint. We write our own stories with music through life and are the sole owners of this book.

Take a moment after thinking about songs that bring you joy and contemplate how you can fill out this playlist. Consider adding some songs that create the kind of space you are seeking. Are you looking for songs that motivate and inspire? Perhaps you need a playlist to create a sense of peace or calm. Fill out your joyful moments of reminiscence through music with songs that create a mood you wish to sit in relish for a moment. The intentional use of music helps us create a space for ourselves that connects to self-care. This is music care.

On May 27th, The National Music Centre launched a Music & Wellness Exhibition which will be permanent and outlines the organizations commitment to curating events and exhibits dedicated to the power of music. According to the website, this exhibit ‘taps into the power of music on physical and mental health’ and the NMC hopes that it ‘will continue to provide space for wellness-related programs and expert talks.’ If your summer travels take you to Alberta, be sure to check out more information on this exhibit at www.studiobell.ca .

You never know, you may stumble across a few new songs to add to your summer playlist for self-care! Which reminds me, have you thought about a road trip playlist…?

Using Music Care for Personal and Professional Resilience

Tue, 31 May 2022 19:17:31 GMT

Adults who are in the midst of pandemic-recovery, are looking for information and tools on how to implement resilience-building strategies for their personal and professional prevention toolkit.

Music has distinct properties in this area, and contributes to a higher level of self-efficacy rebounding from Covid-19 in the Canadian adult population.

Using Music Care for Personal and Professional Resilience is an online course in Room 217’s Virtual Online Studio. Instructed by Aimee Berends, a Hamilton-based music therapist specializing in mental health, this course will provide adult learners with information and strategies for using music care principles to build personal and workplace tools for resilience.

Course launch is June 22.

Topics that are covered include:

What is resilience? Who needs it and why?
The nature of stress and why a holistic approach to burnout is effective
Staying self-aware with music and the arts
Music care for relationships and conflict management
Persevering beyond: motivational and other behavioural strategies using music
Improv 101: How can I be ready to adapt all that I learn for a new situation?

If you are a healthcare worker, teacher, caregiver, administrator, this course is for you. At the conclusion of the course, you will be able to:

Define resilience and position its relevance in today`s societal context
Examine five social-emotional skills that nurture overall health and wellbeing
Demonstrate the role of music in building, maintaining and healing personal wellness
Practice and design artistic exercises for your personal and professional wellness
Provide ideas for program-implementation at personal and organizational levels

Music as a Tool for Resiliency

Wed, 11 May 2022 15:51:19 GMT

Over the past year, conversations about overall health and wellbeing have become more prevalent in our news channels, social media feeds and around our dinner tables with family and loved ones. After long periods of social isolation and continued isolation for many, conversations have shifted to include discussions on how to connect or reconnect with others and how to build a sense of resiliency as individuals and members of our communities.

Granting agencies such as the Ontario Trillium Foundation have launched funding specific to helping the non-profit sector build resiliency so they can support and continue to serve communities across Ontario. Organizations such as the Coalition for Music Education in Canada have released impact surveys which address the need for additional funding and support to help music educators develop a sense of resiliency both within their own practice as professional practitioners and within the broader scope of program development.

In October of 2021, Room 217 launched musiccare LEARN, a hub which hosts 8 core programs designed to help caregivers build their knowledge and skills when using music in care. Through discussions with leading experts in music care delivery, and with members of our LEARN community, it has become clear that we are entering a phase where developing resiliency in both individuals and organizations is a critical emerging theme.

In our recent Webinar entitled Music, Wellness & Young People, Rachael Finnerty (RP, MMT, MA, MTA) discusses how engaging in music with others helps to identify a sense of belonging. When we “share a music experience with others it enhances our sense of community. When we feel part of something, we have elevated confidence.” This sentiment rings true in what we know about both by listening to music and music making. When listening to music, we can see ourselves in the experiences of others and when we participate in music making, we are sharing space with others. Either way, musicking is a known vehicle for wellness.

Community Ambassador and Conductor, Daniel Bartholmew-Poyser, and freelance musician Kathryn Cobbler, recently helped musiccare by Room 217 deliver a workshop for secondary students. This workshop focused on how music can be used to create space for individuals to develop a sense of personal identity, while fostering an overall sense of belonging within their classroom and school.

How can music be used to explore themes of equity within a classroom and how does this contribute to resiliency both for individuals and music programs within schools?

From a psychological perspective, Rachael Finnerty talks about how engaging in music contributes to identity development, creates lasting memories and a develops a sense of belonging. In all care spaces, including schools, music is a tool that can be used to develop person-centred or student-centred programming.

On May 3rd, CBC News released an article entitled How Music is providing a lifeline to seniors in care during the pandemic . This article focuses on the benefits of music beyond the scope of entertainment and how Concerts in Care, an organization dedicated to bringing music to seniors dealt with program delivery through the pandemic. As an organization, Concerts in Care showed incredible resiliency through adopting virtual and hybrid program models and has expanded their reach into communities not accessible during in-person programming. "We are a lifeline to memories, connections and social interaction – even over Zoom or through our live recorded videos," said Debra Chandler, executive director of CIC. musiccare by Room 217 is proud to have played a small part in providing education and guidance to Concerts in Care.

Room 217 has been working on a research project with McMaster University and will release a Virtual Learning Studio (VLS) in Summer 2022, providing support using music as a tool for resiliency. In addition to the VLS, the upcoming Music Care Conference was created with an overarching theme of Music and Wellness, scheduled for Saturday Nov 5th, 2022. The conference will be held in New Westminster, BC which will be Hybrid in nature, providing in-person and virtual options to attend. www.musiccareconference.com Registration will begin on June 15th.

For more information on our programming, visit www.musiccare.org

A National Power of Music Strategy

Wed, 20 Apr 2022 17:25:09 GMT

What would it take to create a national power of music strategy where music becomes an intentional part of health and wellbeing for all Canadians?

In the 15 years musiccare by Room 217 has been working on the ground moving the strategic needle forward in Canada, we have found that building awareness, education and training around the power of music has been a critical building block. Enlarging the paradigm from music as entertainment to essential for wellbeing and necessity in care has been fundamental to our mission.

Today, our colleagues in the UK from the Utley Foundation, a charity that has supported Music for Dementia over the past several years has cast a greater vision for the possibility of music as a national strategy, one that is grounded in evidence and tangible steps.

The Power of Music report is based on a collaboration between Music for Dementia and UK Music. Results are based on a survey of various music and care stakeholders including industry musicians. At the core, this report lays out a roadmap in six steps to harness music to improve our health, wellbeing and communities.

Themes from the survey confirm what is necessary for a national music care strategy: collaboration and leadership, investment, value, skills building, education & awareness, and community & access.

Using four solid case studies, the report lays out an actionable plan. Core to this is a Power of Music Commissioner who could ensure quality and lead national standards. A 3-tiered framework frames music as a universal experience, targeted programming for health and wellness, and specific prescribed non-pharmacological intervention for quality of life and care.

Is this bold approach possible in Canada? Although our health and social care systems are delivered provincially, and things work differently here than in the UK, I’m casting my yes vote.

At the very least, we’ll need:

Federal government support that is tangible, visionary, and representative
A national standard that can be adapted regionally, with skills and training integral to building quality
Cooperation from all music and health stakeholders, working together, bringing what they do best into a strategic vision
Accessibility to all Canadians, reflecting cultural and care sensibilities
Community partners to advance the power of music locally

Kudos to our colleagues in the UK for this visionary strategic report released today. It’s historic, compassionate, visionary, and provides a real pathway forward for unleashing the power of music.

Power of Music Report - A Plan for Harnessing Music to Improve our Health, Wellbeing and Communites

Using Music to Build Moral Resilience

Thu, 14 Apr 2022 14:48:41 GMT

An emerging health issue for healthcare workers (HCW) is known as moral distress. The term refers to the uncomfortable feelings or psychological upset arising when what a professional perceives as his or her morally appropriate action cannot be carried out due to institutional constraints.

Healthcare systems have struggled to cope with the pandemic. A recent Canadian study suggests that the “systemic failure to safeguard HCW from developing moral distress, or effectively helping manage it [during the pandemic] risks creating a workforce gap in healthcare delivery.” Absenteeism, changed sleep patterns, and mental health symptoms like stress, anxiety, burnout, and depression, or quitting their professions completely have increased amongst HCWs as a results of the pandemic.

Moral injury , a related issue, describes the ethical and moral suffering that arises from a betrayal of a person’s core values. It is prevalent among HCW who are psychologically and practically ill-prepared, inexperienced, and poorly supported. The British Medical Journal has stated that moral injury may become the most significant injury for HCW as a result of the COVID-19 pandemic.

Many HCW had insufficient or non-functional PPE during early stages, leaving them inadequately prepared and poorly supported. Many HCW were unable to communicate effectively with patients and colleagues. Many were working in unfamiliar clinical environments. Many had to inform family members over the telephone. Many had to decide who could and couldn’t receive treatment.

The experience of moral distress and injury throughout the pandemic has caused feelings of guilt, remorse, shame, and anger in HCW.

Moral resilience , the capacity to sustain or restore one’s integrity in response to moral adversity, is a pathway towards reducing the unhealthy effects of moral distress and injury. Research has shown us that music supports resiliency in general. We are beginning to witness how music is supporting moral resiliency too.

Prior to COVID, a group of oncology nurses used music to reduce moral distress. A storytelling through music program created a safe space for them to discuss work-related emotions. The intervention allowed these nurses to gain an understanding of shared experiences and awareness of collective suffering. As a result, insomnia and loneliness amongst the participants decreased.

Recently, Room 217 held a masterclass for musiccare certified and pre-certified HCW. It was a safe place for them to express thoughts and emotions in a pandemic work environment. We hired a music therapist, who is also a professional songwriter, to help capture these moments together in a song called “This Ship” they wrote collectively. A Bitove Method visual artist also expressed what she was hearing from the group in an image, the one connected to this post.

Storytelling through music and songwriting are two creative ways to enhance moral resilience using music. Listening to music is another way. Musical ‘soaking’ helps HCW de-stress and relax their minds and bodies. Full immersion in relaxing music bathes the listener, offers comfort, de-stresses, and the refreshes.

Using purposeful playlists to strengthen resilience is one of the themes in Wellness, Wellplayed: the Power of a Playlist by Jennifer Buchanan, a music therapist and professional speaker. She shows us how to use music playlists purposefully, as a bridge to something deeper within ourselves, and a way to address our human need to feel, create, connect, and develop resiliency.

The Hamilton Music Collective has just released [April 2022] a series called Soundbites for Superkids , offering parents and teachers musical approaches to promote healthy social and emotional development in kids. Developed by Aimee Berends, a mental health music therapist, this interactive video series helps children apply musical habits to everyday situations to reinforce positive mental health and specifically build resilience.

Music-making also supports moral resiliency. Singing, drumming, humming are all ways to let go of tensions and be renewed through positive group experiences. Endorphins and oxytocin are released and can restore balance at a cellular level. Music-making opportunities may be offered by care communities, or may be found in community hubs, faith communities, or more informally within families and neighbourhoods.

What seems fascinating to me is that the term moral injury was first used to refer to a layer of PTSD soldiers experienced during wars. Concurrently with the pandemic and the moral assault on many HCW, a war has been raging in Ukraine. The world has been deeply moved by the moral resiliency of the soldiers and also of the music that has risen up to strengthen Ukrainians during unimaginable suffering and moral atrocities.

From a child voicing ‘Let It Go’ to the strains of a single cellist playing a Bach cello suite amidst the rubble, to the Ukraine national anthem sung by an opera chorus in Lviv moments after a missile attack, the moral resilience of a people is being strengthened through soothing melodies, harmonies and rhythms received as anchors to something higher, worthier, and more beautiful than the pain and moral breakdown around them.

May we all – HCW, those affected by war, and all who are suffering - continue to find the songs, therapeutic musical strategies and interventions that keep us healthy, strong and vibrant.

Using Music to Connect with Older Relatives

Tue, 29 Mar 2022 13:07:47 GMT

This article was written by Julia Cara, and is part of a series provided by upper year Health Sciences students at
McMaster University.

For many of us, holidays and family gatherings have looked very different the past few years. As the ongoing COVID-19 pandemic continues to shape our world, protecting the health of our friends and family has often meant choosing to stay apart during the holiday seasons. While this isolation has affected everyone to varying degrees, its effects have been compounded on older adults, many of whom live alone.

Even when there isn’t a pandemic, older adults experience higher-than-average levels of loneliness, social isolation, depression, and anxiety. For those who live alone – either in a retirement home or long-term care home – visitors are often few and far between. When family and friends do come visit, age-related declines in hearing and memory can make it difficult to follow and engage in conversations.

For my grandmother, who has been living alone for the past fifteen years, these challenges of aging have been amplified by the early stages of dementia. My face remains familiar, though my name is hard to remember, and she often slips back into her mother tongue when we speak. But when I play her a song on the piano, or que up an aria from her favourite opera, she comes alive. It’s almost magical – as if she’s stepped ten years back in time. She’s invigorated. She takes my hands and dances me around the room, and she sings along to her favourite parts remembering every single word.

The granddaughter in me isn’t surprised; music is one of my grandmother’s greatest loves. Verdi, Puccini, Mozart – name an opera and she’s seen it. It makes sense to me that music would be a bridge that connects her to us. However, the student in me is interested in the science behind this phenomenon.

In the past few decades, research into music and its effects on aging has been an exciting area of study. Music has proven to positively impact mood and encourage social connection, but it has also been shown to ameliorate some symptoms of dementia. It stimulates parts of the brain that help compensate for age-related declines in processing speed and memory. Therefore, from a scientific perspective, it makes sense that my grandmother can remember song lyrics and melodies – the music helps her reminisce.

This research has driven the slow but steady emergence of music as an effective, non-pharmacological tool to aid the aging process. While music therapy has traditionally been delivered in formal settings, and by licenced music therapists, recent studies have shown that informal music interventions – such as singing, playing an instrument or listening to a favourite song – can also be effective. Even just listening to music once a week can significantly decrease depression and anxiety and the effects can last for weeks.

Not only does music positively impact mood, decrease loneliness and increase cognitive function, but it’s a form of expression – an integral part of culture, community and connection. If you get the opportunity to see your older relatives sometime soon, whether it be this holiday season or sometime in the new year, consider sharing a few of your favourite songs over a cup of coffee. Maybe you’ll find something magical in the music too.

Open-Up Your Visual & Audio World with Mirror Casting

kkozak@room217.ca (Kenna Kozak) — Thu, 17 Mar 2022 20:20:41 GMT

You may have come across the word casting or mirroring in your technical travels and wondered, “what does that actually mean?”

Mirror Casting is a way to take the information, both the audio and the video, from your cell phone, iPad or laptop and have it play on a larger screen like a Smart TV monitor. Think of it like fishing, with the cell phone as your hook and the fish you are looking to catch is the TV!

Mirror Casting will allow you to move from room-to-room, while maintaining and keeping your program files, for each resident, in one place on your hand-held device! It can also be used to keep your program files at your finger-tips for all types of settings like, “Dining Time” or “Activity Time” just as a suggestion.

How to Tips and Tricks
Keep in mind, each set-up may vary slightly by the make and model of the cell phone and the TV monitor you are casting to. It is recommended that both your devices, the cell phone and the TV are installed with the most recent software update. Both your cell phone and TV monitor software updates can be found in under your settings buttons.

Look for the settings icon which will take you to your update software button.

We are providing you a number of links below for you to watch or read, depending on your preference, that will allow you to find the correct instructions for the type of devices you are using. To make casting smoother is it recommended to have the same WIFI connection on both devices.

Once you have updated your software, you can now turn on your casting features.

Settings to be prepared in advance
Check if the TV's Smart View function is turned on:
Settings > General > External Device Manager > Device Connect Manager > Access Notification

How do I cast / mirror my phone to my Smart TV?
It is easy to connect the two for screen sharing following these steps:

Wi-Fi Network. Make sure that your phone and TV are connected to the same Wi-Fi network.
TV Settings. Go to the input menu on your TV and turn on “screen mirroring.”
Android Settings.
Select TV.
Establish Connection.

Do you still need more instructions? Not to worry!
Try these suggested links below to help guide you through the process.

Android Device : Read this article
3 Easy Methods to Cast Android to TV (without Chromecast) - JoyofAndroid.com

Android Devices: Watch This Video on Youtube from - ‘How To Tech” channel
https://youtu.be/3SeHA_uLF6M

iPhone, iPad Devices: Read this article
Use AirPlay to stream video or mirror the screen of your iPhone, iPad – Apple Support(CA)
https://support.apple.com/en-ca/HT204289

iPhone, iPad Device Watch This Video on YouTube from - “How To Tech” channel
https://youtu.be/ObusrROvkk0

By Mirror Casting your device to a Smart TV, it has the ability to take the music care experience to new heights for those in your care.

Wishing you great success!

5 Reasons to Embrace Technology in Music Care Delivery

Tue, 01 Mar 2022 21:09:26 GMT

Music care delivery can happen in a number of ways. Technology is one of them.

We have seen through the pandemic that technology and digital platforms have kept us connected and able to interact, showing the ever growing need to embrace music in care in various technological formats.

We’ve also noticed that in care settings, many of those who previously “firewalled” the use of personal devices prior to March 2020, have now opened-up access through their internal WIFI networks.

Many families over the past two years have been able to connect with loved ones - whether stuck at home by restrictions or living in residential care - through the use of personal devices.

Technology has now become an essential dimension in delivering music care. Frontline caregivers, like health care and recreation aides, can use phones, tablets, and smart TVs on a regular basis to deliver music for programming and enriching the lives of the individuals in their care.

Professional practitioners such as music therapists use technology as an integral part of their practice for outcomes of socialization and comfort care. For example, Aaron Lightstone in Toronto leads a group of adults living with cerebral palsy in a weekly group called Bliss iBand . JB Music Therapy in Calgary is using robotics to deliver music therapy to clients in hospitals.

In the UK, family caregivers of people living with dementia have digital access to music that will help them create personalized playlists for their loved ones through a comprehensive and free-to-use program called Playlist for Life , in association with the BBC. Targeted tools and resources can be downloaded from their website.

Digitized and personalized playlists can be important for supporting our own self-care. In her new book, Wellness, Well-played: the Power of a Playlist , Jennifer Buchanan reinforces this idea saying that technology allows us to take our entire music library with us and to arrange it into playlists for particular purposes such as sport, work and supporting our mental health.

Whether you are a frontline caregiver, professional practitioner, family caregiver, or someone who uses music for self-care, here are five reasons to embrace technology for music care delivery.

Digital delivery platforms allow music to become more accessible, anywhere, anytime on your personal devices. You can buy music in a digital file format for download from iTunes or Bandcamp. You can stream music to borrow – for a rental fee - from Spotify, Tidal, and Apple Music. This accessibility extends into making treatments more widely available as Brian Harris is doing with MedRhythms Digital Therapeutics. His company is developing music-based treatments for individuals with acquired brain injury and other neurological deficits to help improve walking.
Adaptive technologies help musicians with disabilities make music. Take for instance the virtual music instrument which assists Eric Wan make music meaningfully after his life-altering accident. Or other adaptive technologies that the Vancouver Adaptive Music Society uses. Virtual reality and artificial intelligence are providing musical experiences for certain populations like this group of residents living with dementia .
Adaptive technologies help people better hear and understand sound and music. There has been a tremendous advancement in hearing aids to amplify sound. Sound processing and frequency response has improved. Companies like Starkey are using AI to allow hearing aids to track body and brain health, eliminate feedback and make listening in noisy environments comfortable. Cochlear implants which stimulate sound, use sound processors to bypass damaged portions of the ear to deliver sound signals to the auditory nerve. Signals are sent to the brain making understanding speech easier.
Sound and music interventions can be less invasive and still have optimal impact on targeted outcomes. Vibroacoustics provides a good example of a type of therapy that yields excellent outcomes. Chairs, beds, mats implanted with digital devices use sound vibrations to relax muscles and stimulate the body at the cellular level to help mitigate pain for example.
Music becomes personalized with the use of digital technology. Getting precise with musical preferences provides better care outcomes and is a tangible form of person-centred care . That is why we at Room 217, have taken our 700+ designed music care assets and put them into a streaming app, called musiccare CONNECT so that users can create personalized musical programs for themselves and for those in their care. CONNECT is available from the Google App or Apple Stores.

As we befriend technology in music delivery, may we see deeper peace, enhanced life and enriched quality of life and care.

Choosing Music for Room 217 Collections

Thu, 17 Feb 2022 15:38:10 GMT

Part of the mission of our work at Room 217 is to provide caregivers with musical tools that are designed with artistic excellence while having evidence-based therapeutic outcomes.

For music-based products, we follow a 10-step process to meet these goals and produce new material.

Identify care population we want to reach i.e., people who are dying, or living with dementia
Identify intended healthcare outcome i.e., reducing agitation, social engagement
Identify musical elements to support that outcome that will shape arrangements and production i.e., tempo, timbre
Identify demographic we are trying to reach i.e., boomers, newcomers
Determine theme of project designated by a title such as Road Trip, Celtic Whisperings
Conceptualize the desired sound which determines the artists
Choose music using values-based and research-based methodologies
Arrange songs with an intentional album arc
Record using professional technicians for excellent production/post-production quality
Design compelling graphics to support the feel of the album

Over the past 15 years of Music Collection delivery, one question of intrigue that comes up regularly is how we choose our music for the 24 albums we’ve produced for in palliative and end-of-life care. With millions of songs to choose from, why these particular songs?

Fair question.

At the outset, we need to say that the songs we have chosen are not the only songs to be used for supportive care. We recommend creating personal playlists with songs that hold meaning and comfort for the person who is dying and their loved ones as well as a skilled live bedside musician or music therapist who can song select and adjust performance to meet people where they’re at.

This does not preclude, however, intentionally curated, designed and tested music collections where songs have been selected on purpose to more universally support loss, grief, meaning-making, dying, death, saying goodbye and the other human needs surrounding final transitions.

And most especially, where caregivers can depend quality for music care delivery.

We follow this process for each and every album. Once the first six steps are completed, we move into choosing the music directed by research, production values, and licensing availability.

We research songs. Focus groups help us gather a breadth of possibilities. Focus group participants are asked questions such as, ‘If you knew you had a few months to live, what songs would you want to listen to – list 10.’ ‘What are the top 5 songs your patients request at end-of-life?’ We assemble focus groups that are customer-based, geographically-based, expert-based, and culturally-based.

Internet searches give us already curated materials such as Billboard’s top 100 by decade. We found the 100 Songs Book created by Playlist for Life, a group in the UK in which they list the top 100 songs for every year over the past 100 years. A treasure trove.

We rely on artists’ intuition. The artists we hire to perform the music are brought into the process at this point and provide insight based on songs associated with their instrument we may have overlooked.

Using this combination of research methodologies, we come up with a list of 100 or more songs – generally Western music - that could potentially be used on that particular album. We rely on the next part of our song selection process to distil and shortlist.

Our shortlist is typically 25 songs that best align with our production values, the key drivers informing song inclusion.

Because our main interest for these albums lies in psychosocial and spiritual care, we look for songs that will support relationships, how feelings are processed, meaning-making and comfort. We choose songs that express human sentiments of relationship completion ‘I love you’, ‘thank you’, ‘good-bye’, ‘forgiveness’. In this way the music can assist those sometimes difficult yet necessary conversations.

There are several schools of thought about whether to use familiar or unfamiliar music at end-of-life. Both have their benefits. We have chosen to use familiar music to stay true to our goals and because the research shows that familiar and preferred music are the most effective in care. Familiar music can wrap someone in a blanket of comfort and can often help them sort through making meaning of their circumstances.

You might ask whose familiar music? Another fair question. For Collections 1, 2, and 4, we have used familiar Western music. Many of these songs are universally known. We know this from the research.

For six albums in Collection 3 which focuses on non-Western musics, we chose to use familiar sounds rather than familiar songs. Because each album represented large populations with regional and religious differences, we wanted to mitigate any conflicting associations and optimize perceived and generally accepted soothing sounds from those musics and cultures. For more information on how songs on these albums were created and produced, watch this webinar on Diverse Sounds with producers Justin Gray and Aaron Lightstone.

Our music is gently-paced, performed at or around 60 beats per minute which entrains or syncs to resting heart rate. Not all songs we select are slow songs, but they need to be able to slow down while at the same time, maintain the song’s integrity in order to be included.

Once the songs are shortlisted to 25, and mechanical licenses are available for each of those songs, then it is up to the arranger to create a song stream that arcs intentionally yet flows seamlessly without bumps, startles and agitations. We rely on the skill and musical sensibilities of the artists to create a beautiful interplay of songs that can be used for effective supportive care.

For more information on Room 217 Collections, download for free our Guide for Using Music in Hospice Palliative Care .

You can purchase Music Collections at our store or on the musiccare CONNECT app available at Google Play or Apple Stores.

January Thanksgiving

Fri, 28 Jan 2022 17:51:18 GMT

October is typically the time in Canada for harvest feasts, turkeys, and observances of thankfulness. But this year, Room 217 is celebrating Thanksgiving in January. That’s right. A January Thanksgiving.

We acknowledge the generous and faithful giving of our financial partners. We take some moments this month to honour and express our appreciation to those who have shared their resources with us to steward towards making music care more available in Canada. Read our January Thanksgiving report .

In a year filled with pervasive uncertainty, it is this mighty group of individuals, foundations and trusts who have ruddered the pandemic storm for us and helped us ride the waves of unpredictability.

From the entire Room 217 team, thank you for your partnership and faithful giving.

Your giving in 2021 has helped us lay the groundwork for scaling music care in tangible ways.

We have fully entered the digital ecosystem with:

our new state of the art, interactive website www.musiccare.org
musiccare CONNECT , A new streaming app with all of our designed resources available 24/7 available at Google Play and the Apple Store
our musiccare portal, a unique hub for our users and learners

We have consolidated our programs into 3 main areas: CONNECT, LEARN and CERTIFY. While each area has a separate mandate, they are connected and provide tools, strategies and standards for music care delivery.

We have integrated our internal processes into one customer relationship management system. Fully optimizing digital tools and platforms is helping us streamline efficiencies in accounting, event management and telling our story.

The impact of your giving will be seen in 2022 and beyond as reach more people with the gift of music care.

Remembering the First Room 217

Mon, 10 Jan 2022 17:38:00 GMT

I will never forget the call that came on that cold, crisp January afternoon twenty years ago. I knew it was imminent. I was expecting it and I thought I was ready. But would I ever be ready to say the final farewell to my father?

I was close to my dad, and one thing that drew us together was our love for music. When dad had his first and second quadruple bypasses, it was no wonder that music played a role in his recovery. The tunes that lived in dad’s spirit energized him and gave him hope for recovery.

But with the diagnosis of Level 4 Non-Hodgkin’s Lymphoma in the late spring of 2000, I watched Dad’s bottom line change dramatically during the next eighteen months. His attentiveness to profit and loss, distribution strategies and board meetings was ruthlessly replaced by blood tests and cat scans and antibiotic pics and a maze of health care infrastructure.

There was a morning I remember like it was yesterday. He sat battle-worn in the rocking chair. I sat at the organ, and experienced the waves of grief that strike as surreptitiously as a tsunami. Intuitively, we knew our exchange would be around the music we had played for years. Our tears sang the words that day.

The notion of death and dying is something I haven’t been afraid to talk about. I believe death is a transition, not a destination. While I had always thought sudden death preferable, now I was seeing firsthand that terminal illness held tremendous opportunity for connecting, expressing my love through caring, possibilities for resolutions and dignified closure.

Those last hours with Dad are still etched in my heart. In Room 217 at the Uxbridge Cottage Hospital , lady morphine was doing her job while my brothers, sisters, Mom and I were around his bedside singing the hymns he loved. Dad tried singing along. It was a sound unlike any I have heard. It was neither guttural nor diaphragmatic. It came from a different place. I think it was a place deep in his soul.

I saw with my own eyes and experienced with my own heart how music companioned Dad in his final transition. It was a gift, wrapped with the ribbon of release.

I had made piano recordings for friends and family who were ill when I was a teenager, but when I left the hospital and said good night to Dad for the last time, I committed to take my “comfort” music to others facing loss or the end of life.

By the fall of 2004, I had developed the Room 217 idea and design. During the next several years, I read and learned more for myself about why music works in care. I travelled across Canada to hospice palliative care conferences, teaching caregivers about the healing capacity of music and sharing with them my personal story.

I was also growing the palliative music collection as well as other Room 217 resources. It became clear there was a growing hunger from care providers, volunteer and family caregivers around music in care. We shared a common belief that music could bring meaning into difficult situations.

In 2009, my husband, Rob, and I started the Room 217 Foundation. Structured as a not-for-profit registered Canadian charity, our vision is to change the care experience for other families with the use of music. We also want to support caregivers to use music in their regular practice and improve the culture of care by using something as precious and human as music.

Where business suits are exchanged for hospital gowns and manicures for morphine, when life becomes as basic as waiting for the next breath, I want to contribute to a beautiful and hope-filled environment. I want to bring dignity to people who are dying through music.

Music can facilitate expression. Maybe through the words of a song, there can be forgiveness and release or an opportunity to remind someone they’re cherished. I have learned that being present in a room with someone who is dying is a sacred moment. But there will be no place more sacred to me than that first Room 217.

Supporting Voices: Strategies for Encouraging Singing & Self - Expression

Wed, 19 May 2021 19:01:00 GMT

Voice is lauded as the most accessible way into music, but, as many of us know, ‘singing’ can strike fear into the hearts of the most brave. Many of us have come across people in our practices who feel their voices are ‘not good enough’. As Dr. Helen Pridmore writes,

What is a normal vocal sound, anyway? My own world as a singer embraces many different types of vocal sound, intentionally exploring vocal possibilities and working to break down stereotypes of vocal “beauty.”

How can we encourage people to use their voices, in both the practical sense of singing and the metaphorical sense of expressing oneself? This article features strategies for facilitating creativity and expression through the voice, drawing on tips and activities featured in the Participatory Creative Music Hub .

All sound is good - and necessary!

Setting up a situation in which a wide range of vocal sounds are not only acceptable, but necessary can help broaden participants’ idea of what sound is ‘good’. Dr. Helen Pridmore and Dr. Chelsea Jones’s first jam sessions with Astonished! , a community-based organisation for young people with physical disabilities, were based on a familiar person riding her bicycle.

Imagine Brenda riding to campus (the University of Regina campus, where sessions were held) against the wind. What kind of sound does her bicycle make? Now she’s locking up the bike, and coming to meet us…and now she is coasting home with the wind behind her…

As Helen writes, “These kinds of visual stimuli, founded in real life and featuring a well-loved friend, provoked collaborative sound-making and some fun.”

Dr. Naila Kuhlmann’s Piece of Mind , a project that translates the lived experience of people with Parkinson’s disease and dementia through art and science, similarly sets up a familiar situation with lots of room for vocal play. In this case, a short silent film ‘ Give us a Hand ’ was created featuring a ‘finger acrobat’. The acrobat laboriously climbs up stairs to walk a tightrope, a metaphor for the challenges and successes a person with Parkinson’s experiences daily. The beauty of silent film is that it leaves a lot of room for interpretation: participants improvised a soundtrack in real time to the film using grunts, groans, sighs of relief, hummed melodies and snippets of self-talk. Both the description of the bike and the narrative of the silent film provided fodder for the imagination and encouraged sounds beyond standard ideas of ‘good singing’, leading participants to be playful and expressive with their voices.

Other strategies for vocal expression include:

Song-based forms obviously provide ample potential for expression. Ruth Eliason’s project The Beat of the Heart . Ruth makes heartbeat recordings with neonatal and palliative care patients and pairs them with favourite songs, creating legacy recordings that are cherished by family and friends. Prends garde à toi with Opéra de Montréal re-writes the opera Carmen, placing people with intellectual disabilities on centre stage to speak and sing about their experiences of discrimination in daily life. Hugh Chris Brown of Pros and Cons Prison Music Program teaches music production skills to inmates, while facilitating access to equipment. The process of songwriting and production provides inmates with a medium through which to process their experiences, engage with others in a positive way, and feel a sense of accomplishment. As Chris says, “All it takes is that first step of going in and engaging.”

For more inspiration, or to submit your own strategies for making music to the Participatory Creative Music Hub , please contact me at mlouisecampbell (at)gmail.com .

Online music making: Strategies for music creativity through video conferencing

Tue, 27 Apr 2021 15:06:00 GMT

Over the last year, more musicians than ever have developed new skills and strategies for facilitating music online. Now that we all have a little more experience under our belts, what are some strategies for music creativity in the context of video conferencing? This article features strategies for facilitating creative music making online, drawing on tips and activities featured in the Participatory Creative Music Hub . All of the following strategies and activities can be used via video conferencing in private sessions or with members of the same household:

Listen

Our visual sense is very strong. When our visual sense is over-solicited, as it can be in video conferencing (hence the term ‘zoom fatigue’), it can override our awareness of other senses. As musicians, we work in the realm of sound - so, how about turning the video off for at least some of your sessions? Listening games help people feel grounded and give us insight into what kind of environment someone is living in, and what activities may be appropriate to suggest for the session. My favourite listening game whether in person or on video conferencing is the Sound Treasure Hunt (see Sound Bites for full description). Here are a few variations to be played with video turned off, or with eyes closed

These listening games are a great way to start a session, giving us a window into how someone is feeling, what their current surroundings are like, and lays the foundation for the next activities.

Improvise!

If improvising isn’t your wheelhouse, or that of the people you are working with, take it one step at a time.

For participants ready to dive deeper, Jodi Proznick’s project Language of Emotion in Music uses the concept of the ‘Mood Meter’ to name and understand emotions and express what we feel through music. Jodi suggest brainstorming “feeling words” around the 4 colours on the mood meter:

Improvise examples of emotions in music (or play the video examples in Jodi’s project) and ask your participant what emotion they hear. In turn, participants then explore “improvising emotions” on their instruments.

Found objects

Don’t have instruments? Try using whatever is close to hand. Germaine Liu uses household objects such as tissue paper, kitchen containers and bowls and more to create Task-Based Games that are light-hearted and playful, and great for motivating movement and interaction.

Meredith Bates takes this idea a step further by building instruments out of household objects and forming a Found Object Orchestra made up of the members of one household. She then chooses one member of the household to be a conductor (in this video example, a very enthusiastic seven year old!) and create a world premiere of the Stay at Home Symphony .

Visual cues

The strength of video conferencing is it’s visual aspect. How can we use this to our advantage when working with music and sound? One way is through movement and dance to respond to and create music. In Naila Kuhlmann’s project Piece of Mind explores the lived experience of people with Parkinsons through music and science. One way participants create music in this project is by ‘conducting’ music as it is being improvised. For example, a person living with Parkinsons describes her sense of time over the course of a day with high energy shown by hands high in the camera frame and low energy by hands low in the camera frame. The improvised pieces from Session One and Session Two are remarkably different. Other correlations between conducting and music can be established, based on what the participant is feeling and interested in exploring.

Not so different than when making music in person, the best sessions online happen when we make strong connections with people. For more inspiration, or to submit your own strategies for making music to the Participatory Creative Music Hub , please contact me at mlouisecampbell(at)gmail.com .

By Louise Campbell,
Project lead for the Participatory Creative Music Hub

Announcing the Participatory Creative Music Hub!

Fri, 26 Mar 2021 14:27:00 GMT

We are excited to announce the Canadian New Music Network's newest multi-year initiative: the Participatory Creative Music Hub . The Hub is an on-line resource for Participatory Creative Music that celebrates creativity in music and sound, shares resources, and builds connectivity between current practitioners, participants and newcomers to music making from a variety of backgrounds and fields. Projects come from fields including health care, education, social services, corrections, leadership... and, of course, music care!

What is Participatory Creative Music (PCM)?

Who is involved? How is it done? Where does it take place? What approaches or processes are used? What materials are available/accessible?

The questions go on! The key feature of PCM is participation, where everyone takes part in the creative process of making music. More specifically, Participatory Creative Music is a multitude of approaches to creating music in which everyone involved, regardless of their prior experience in making music, has active input in the creative process. Authorship and decision-making is shared to greater or lesser degrees, depending on context.

Musicians who provide music care and music therapists frequently use participatory approaches in order to encourage optimal engagement with participants. are important to this resource, as contributors and as users. See here for a few featured projects:

For more inspiration and resources, see Tips and Tools . This section features tips written by experienced facilitators working in various sectors such as:

To help deepen your practice, see the Keyword bibliography , featuring links to literature online, Keyword definitions , Funding sources and on-line resources . Our hope is that, as the Hub grows, you will find ideas and resources in the Hub to inspire you in your practice - and perhaps even submit your own project !

For more information and to submit a project, email project lead Louise Campbell at mlouisecampbell@gmail.com .

Hand Drumming for Care

Thu, 29 Oct 2020 15:00:00 GMT

What’s in a drum? The therapeutic power of rhythm! It’s the strongest musical element related to health and wellness. Our bodies are rhythmic in nature i.e. brain waves, heart beats, menstrual cycles, circadian rhythms, and sound waves. The motor system of our brains is primed with rhythm.

That’s why participation in rhythm-focused musical activities has effects like reducing stress and anxiety, distracting from pain, and boosting the immune system.

What’s in a drum? The power of community! Drumming together provides feelings of social connection through repetition and non-verbal communication. Engaging in a drum circle, offers interpersonal support and resonance, as well as self-expression.

Hand drumming is an accessible, experiential way to engage in both self and group care.

What’s in the Hand Drumming for Care course? Master drumming teacher Kathy Armstrong leads you through basic skills and techniques to enable enjoyment of hands-on rhythm for care. By the end of the 8 modules, students will be able to:

Hand Drumming for Care is available now at Room 217’s Virtual Learning Studio and is designed for family, volunteer and professional caregivers.

Mohawk rec therapy prof invests in music care training to empower students

Thu, 24 Sep 2020 19:10:00 GMT

Joanne Brohman’s goal at Mohawk College is to train recreation therapy students who are skilled and confident when they graduate, and who are able to enrich the quality of life for the people they support after graduation.

She is the program coordinator for the recreation therapy and recreation therapy intensive programs . The intensive program is a nine-month program for graduates with an allied degree, who want to enhance that with hands-on, experiential learning in recreation therapy.

For three years now, Mohawk has invested in Room 217 training to augment their students’ education. Joanne knew about Room 217, but assumed the training was expensive, and out of reach to the college to create some value-added training.

Aware that one of her former students was teaching facilitation techniques, she reached out to learn more. He was working with his friend Chelsea Mackinnon, who is one of Room 217’s instructors and is the Foundation’s former education and research manager. They agreed to do a facilitation workshop with Joanne’s students. “It was amazing. What a great offering,” says Joanne. Chelsea then spoke to Joanne about Room 217, and its mission of Care through Music. Joanne saw the benefit of teaching students “how to run a proper music program and do it so it works.

“Anyone can bring in a group or put on a CD. That’s entertainment. But what works? What’s is good neurologically? Decreases anxiety? Creates a better quality of life?” Joanne looked into the costs of Room 217 training for the intensive students, who spend 10 days of their semester getting additional certifications, and decided to invest in the education.

The first year, 2018, Mohawk booked a full two-day Music Care Training for the group of intensive students. “I felt it added huge value to our students’ education,” says Joanne. “It is practical, and evidence-based.”

Taylor Creary was a student in that first group. She came to Mohawk with a BA in Human Ecology from Western University. Her placement took place at a mental health hospital, and she now works in long-term care.

“I used music as a therapeutic intervention regularly in both of those settings, “ she says. “Truthfully, I didn’t know anything about using music as a Rec Therapist. I thought music was provided by those fortunate enough to have a music therapist. I did find the training helpful, to better understand the ways music be used both with populations in LTC and those with mental health conditions,” says Taylor.

Mohawk did an evaluation of the course, and while students loved it and felt very confident about being able to run purposeful music programming, they did feel it was quite heavy in theory, which they didn’t find useful. Joanne spoke with Room 217 staff, who took the concerns back to the team. In response, Room 217 developed a one-day education program call Music Care Skills Day (for recreation therapy ) that was piloted the next year at Mohawk.

“It is an amazing one-day training that pulls together all the pieces that the students need,” says Joanne. The one-day training still covers rationale, but it’s condensed. “The training gives the students so many tools to add to their scope of practice,” she says. “The first, two-day training was too much theory and research. They want the Coles Notes version.”

As a program coordinator, professor and rec professional, Joanne feels that Room 217’s education gives the students “great confidence that they can go out and add music to their practices the right way.”

Taylor, Mohawk graduate says, “Going into the program, I thought much more of interventions such as physical activities and I wasn’t aware of all the ways music could be integrated into programming as a therapeutic intervention. Music is now most definitely my modality of choice with any population I work with - really regardless of age, physical ability or cognition, because it can be so easy adapted and all people can have success in a music program.”

When her students to out to community, they are bringing their knowledge of Room 217 and music care with them. “Many of them (staff) don’t know and our students are educating the agencies about what it (music care) is. It’s a value that our students know how to properly run a music program based on what works, and best practice.”

Joanne says the training, which is research-informed, “is a huge selling card to the field of recreation therapy. We can’t be running programs willy-nilly and be offering music without knowing what it will do to the person.

“It’s powerful,” she says of the education.

Taylor believes “the extra training did play a role in helping me get a job, because it really opened my eyes to a whole other group of therapeutic interventions and made me more well-rounded as a Rec Therapist. And also more confident in the care that I know I can provide. Although I didn’t know that I would be offered this program when I enrolled at Mohawk, I absolutely do think that all of the wonderfully curated certifications offered, Room 217 included, makes Mohawk superior to other institutions offering similar programs, as well as their grads coming to the work force more well rounded and prepared.”

Joanne says that in addition to the hands-on learning, the critical thinking of how to work together as recreation staff is appreciated. Sites have to work together to acquire the best of equipment for their clients or residents. Joanne says rather than buying dollar store toys, rec professionals need to work as a team to buy quality instruments, and share. Of healthcare in general, she says, “we need to get out of the silos and start managing the farm.”

Overall, she finds Room 217’s education gives “a really profound message. Room 217 is an amazing organization.”

To learn more about Room 217’s education programs, visit www.room217.ca , or call 905-852-2499 or toll-free 1-844-985-0217.

The King of Rock pushed the envelope

Fri, 11 Sep 2020 19:13:00 GMT

He's been dead longer than he lived, but Elvis Presley - The King - is still known as much for his lifestyle as for his music. While younger music fans may only remember him for memes and the line "Elvis has left the building", older fans will remember his impact on not just rock and roll music, but North American pop culture.

Born in the south, Elvis Presley was raised in poverty. He loved music, although he never took a lesson, or learned to read music. He spent several years living a a predominantly black neighbourhood, and was a fan of spiritual music, and rhythm and blues. He was both complimented and criticized for - depending on how you see it - either introducing African American music or appropriating it.

https://youtu.be/yoHDrzw-RPg

One of the songs that was written for blues singer Big Mama Thornton , Hound Dog , became her biggest hit in 1953. Three years later, Elvis recorded it, and it became his best-selling song.

The song was written for Thornton's powerful voice and told the story of a woman tired of her man taking advantage of her. Elvis's version is credited with being THE song that brought R&B music into the commercial, white, mainstream, but not without criticism.

After Elvis performed Hound Dog on The Milton Berle Show on June 5, 1956, with his exaggerated hip movements and arm-swinging, and people responded. Presley was attacked as being a talentless exhibitionist, vulgar, and even the Catholic Church published an article warning people about him. On July 1, Elvis appeared on the Steve Allen Show, singing Hound Dog to a Bassett hound. Because of the controversy over Elvis's morality, his popularity exploded. The song was just something he'd added to his repertoire; it hadn't been recorded yet. The day after the Steve Allen Show, it was recorded and released as the B side to Don't Be Cruel . Both songs were on Billboard's Best Sellers and Most Played in Jukeboxes charts.

The song was reviled by many, yet consumers snapped up the record. Hound Dog spend 11 weeks at Number 1 in the charts and ended up selling 10 million copies worldwide.

The 1956 recording was inducted into the Grammy Hall of Fame in 1988, and the version was ranked in 2004 by Rolling Stone magazine as number 19 on its list of 500 Greatest Songs of All Time. The Rock and Roll Hall of Fame listed Elvis's version as one of the "500 Songs That Shaped Rock and Roll".

https://www.youtube.com/watch?v=lzQ8GDBA8Is

Whether it's Elvis's voice, his dancing, or the music, Hound Dog is highly recognizable. For this reason, it's one of 15 tracks on the Jukebox Junkies album that's part of Collection 4 - Boomer Tracks . It joins other songs like I'm a Believer, Under the Boardwalk, All I Have to Do is Dream , and It's My Party on the album. You can listen to some sample track from Jukebox Junkies here .

The album can be purchased as a CD, as a download, or as part of Collection 4.

Like all the babies rock and roll was born in post WWII America

Fri, 11 Sep 2020 18:56:00 GMT

Poodles skirts, saddle shoes, ducktails and fins on your cars. If these words don’t evoke memories and images from the ‘50s maybe this will:

[IMAGE]

Is there anything more iconic of the 1950s than the jukebox? The machine held our favourite 45s, and was like a community playlist. We’d take turns spending our money - dropping our coins into the jukebox, listening to our favourites songs. Jukebox Junkie is the name of one of six albums in Room 217’s recently-released Collection 4 – Boomer Tracks.

[IMAGE]

The end of WWII in 1945 began a period of prosperity in America and Canada. As people felt confident that the future would be peaceful and prosperous, they settled down, moved to the suburbs and began what was (and still is) referred to as the Baby Boom. Babies were born in unprecedented numbers between 1946 and 1964.

Much was booming in the ‘50s – the economy was sailing as all these new families needed products, people were earning decent wages and inflation was low. Middle class people were enjoying life.

Communication was changing, as families started gathering around the television instead of the radio, and the world was getting ready to rock (and roll) .

The genre of music evolved in the U.S., and included elements from blues, country, jazz and gospel. The first rock and roll song and performer are disputed; check out this article from The Guardian, in which DJ Wildcat Pete says it's like asking which came first, the chicken or the egg.

What is common throughout all stories of the history of rock and roll is that it morphed from several styles of African American music and introduced it to white listeners. Some believe rock and roll contributed to the civil rights movement because it was a style of music enjoyed by all.

The first rock and roll songs featured the piano or sax; makes sense when you think that some of the first stars of rock and roll were Little Richard and Jerry Lee Lewis , who not only played, but were showmen as well. If imitation is the sincerest form of flattery, you need not look past them, and Chuck Berry to see who inspired more recent musical showman like Freddie Mercury , David Bowie and Mick Jagger .

Over the years, even rock has branched off into soft rock, hard rock, but rock and roll is the term - and the music - that's most memorable to Baby Boomers.

Though our Jukebox Junkies album contains songs that are a little younger than what you'd have listened to on the jukebox, our goal is to bring you an album of music that transports you to your teens. You can listen to samples of music from Jukebox Junkies here (scroll to the bottom of the page).

The album can be purchased on it own as a CD, a download, or as part of Collection 4 - Boomer Tracks

Learn why music is so important in epidemics

Wed, 02 Sep 2020 19:43:00 GMT

Room 217 ’s 2020-2021 webinar series launches with a timely presentation by Dr. Remi Chiu called Music in Times of Plague and COVID-19 .

In North America, we watched as COVID spread in February and early March, horrified at how quickly it killed thousands. In particular, news out of Northern Italy, affected our views on the spread, and we watched countries attempt to battle the virus with lockdowns and curfews. It took less than a week for we in Canada to respond to the World Health Organization’s declaration on March 11, 2020 that COVID-19 could be characterized as a pandemic. In days governments put emergency measures into place, businesses shuttered their doors, and staff were working from home, where possible. Originally, many thought the lockdown would be in place for a few weeks. Here we are six months later; although provinces have been opening in stages, we are still socially distancing, wearing masks, and being vigilant about hand washing.

Though we are able to gather in small groups, many lament the loss of group socialization – concerts, choirs, worship, movies, etc. How did we manage through COVID? Music! Check out this amazing video of how Italians began performing together while apart, in an effort to overcome the loneliness caused by isolation.

We published this story on our Facebook page on April 6. One of the sources for the article was Dr. Remi Chiu, a musicologist and coordinator of the music program at Loyola University Maryland. In the article, he says, “Music is proving to be a true antidote to fear, just as Renaissance doctors claimed.” Renaissance doctors? YES! For centuries, music has helped humans deal with epidemics.

We are excited that Dr. Chiu will be the first presenter of our 2020-2021 webinar series. You can register for his presentation, Music in Times of Plague and COVID-19 , which is being held Wednesday, Sept. 9 from 3:30 to 4:30 p.m. ET. As always, there is no fee for Room 217 webinars.

Dr. Chiu’s webinar will provide a historical context for music-making in times of public health crises. The musical responses to past epidemics can help reveal what musicians and listeners find valuable in music under COVID-19.

At the end of his webinar, attendees will understand historical context for music and other social responses during epidemics, discern some trans-historical uses of music that are relevant to musicians and listeners today, and develop ideas and strategies for music performance under current conditions.

Remi Chiu is an associate professor of musicology at Loyola University Maryland . He specializes in the history of music and medicine. He is the author of Plague and Music in the Renaissance (Cambridge University Press, 2017) and the editor of an anthology of Renaissance plague-related music, Songs in Times of Plague (A-R Editions, 2020). Currently, he is investigating the use of music in medical entertainments, such as the medicine show and the “freak show,” at the turn of the 20 ^th century.

Folk is music of the people, shares news of struggle and home communities

Fri, 28 Aug 2020 16:57:00 GMT

Ask people what folk music is, and you'll get a variety of answers. Is it about the music? The lyrics? The song's history? According to Wikipedia's entry on folk music , it's all of those things: music that's performed by custom over a long period of time; that has no known composers; and that has been transmitted orally. It can describe the traditions of the "uncultured classes" and definitely means it's music of the people. And because it's been shared orally, it is music that has a place, or is indicative of a community. In some circles, because folk music tells stories about events and history, it's known as world music. In a dissertation, Rachel Clare Donaldson simply stated "Folk music is what the people sing."

As it pertains to the album Folkie Folk in our Collection 4 - Boomer Tracks , folk music refers to contemporary folk music, which is newer composed songs by known authors.

Woody Guthrie is one of the pioneers of North American contemporary folk music, who is credited with inspiring and mentoring generations of performers musically and politically. A naturally gifted musicians, he was one of the thousands of Oklahomans who ventured west in the 1930s look for work. He landed a job at a radio station, performing hillbilly and traditional folk music. Though never a member of the communist party, Guthrie agreed with its platform, and much of his music addressed inequality, and the struggles of working class people. Guthrie was fired from the radio station as his politics began to interfere with events leading up to WWII; he headed to New York City, where he made his first recordings, and penned his most famous song, This Land Is Your Land.

It was during this time in the 1940s, when Guthrie became friends with Pete Seeger that the popularity of folk music began to grow. Many folk artist had leftist politics, and the artists were banned from mainstream outlets. They performed in college and university towns, and in places like Greenwich Village, which 20 years later birthed the Beat and counterculture movements.

Those movements gave rise to the second wave of folk music popularity. The Kingston Trio kicked it off; inspired by The Weavers (including Pete Seeger), the Trio's success led to the inclusion of a Grammy Award category for best ethnic or traditional folk recording. Other acts that enjoyed success during the folk revival were Joan Baez , Peter, Paul and Mary , and Bob Dylan (who was a fan of Woody Guthrie's songwriting, and vowed to become is greatest disciple).

Folk music in the '60s was about protest, and seeking other ways. The songs were about standing up to the status quo, nuclear disarmament, civil rights, and feminism. The music is widely acknowledged for its storytelling, politicizing, and advocating; yet its popularity began to dwindle as that of rock grew.

When staff at Room 217 were planning Collections 3 and 4 , we sought input from music lovers, supporters of Room 217, music therapists and musicians. Themes began to emerge and it's no surprise that Folkie Folk is one of the albums. The artists and songs helped define a generation.

On the Folkie Folk album you will find Four Strong Winds, Leavin' On a Jet Plane, If You Could Read My Mind, Teach Your Children, We'll Sing in the Sunshine, Blowin' in the Wind, Morning Has Broken, Big Yellow Taxi, Whispering Rain, Where Have all the Flowers Gone, Green Green, Sounds of Silence, If I Had a Hammer, I'm Gonna Be (500 Miles), and Homeward Bound. Click on the link to the albums, and you can listen to five samples from this album.

Although Room 217's music is designed for use in palliative care, there are many applications for it, including sleep promotion, relaxation, and self-care.

Secular hymn Hallelujah among world’s most popular and recorded songs

Mon, 24 Aug 2020 15:15:00 GMT

As explained in this blog post Not Afraid album, the intent behind the Not Afraid album was not to tell people in hospice palliative care that they needn't be afraid; it was to let them know there are people who love them and are sharing the journey.

One of the iconic songs on the album is Hallelujah , perhaps the best known piece of Leonard Cohen's music. The song has an interesting history; it was released on Side 2 of his Various Positions album in 1984, but was not a hit. In fact, his label didn't even distribute the albumin the U.S. It was not until Welsh singer John Cale recorded a version for a Cohen tribute album that the song was noticed. The Cale version inspired Jeff Buckley to record a version , which caused the song's popularity to skyrocket. Rolling Stone magazine has named Buckley's version number 264 on the 500 Greatest Songs of All Time .

This story from The Conversation claims there are now more than 300 versions of Hallelujah, recorded by performers from around the world, in multiple languages. The fact that Hallelujah has been part of movies and television shows means that the song is constantly being introduced to legions of new listeners. There was a huge increase in the song's popularity when the Cale version was included in the film Shrek (although Rufus Wainwright 's version is included in the soundtrack album).

After Cohen's death in 2016, the song experienced renewed interest, and it was entered into American Billboard's Hot 100 for the first time . Cohen wrote about 80 verses to the song, so different versions will contain different combinations of verses.

The song is almost 40 years old, but pop culture means the song keeps being introduced to newer, younger audiences. It is performed regularly on television talent shows, was sung at the Hope for Haiti fundraising concert, has been arranged for orchestra, was part of Jack Layton's state funeral, as performed at the 11 September Memorial Concert in 2011.

Why does this song resonate with so many people? What's it even about?

The song contains biblical references, including King David and Bathsheba, and Samson and Delilah. It is considered by many to be a secular hymn ; a non-religious popular song that has elements in common with religious music. Professor Steve Thomsen says criteria for secular hymns include transcending generations, is about redemption or deliverance, has spiritual overtones, includes metaphors referring to up and down or light and dark, its meaning transcends initial purpose, and has been used as a backdrop for important life events. Richard Wilson believes secular hymns are written as anthems with a positive theme that shine a spotlight on life's difficulties.

I love this article , and its explanation of how Hallelujah mixes religion and sex, covers lust and forbidden love, offers hope in a cruel world, AND talks about the difficulties the album encountered getting released in the U.S., and the competition the 50-year-old Cohen faced in artists like Prince, Madonna and Michael Jackson.

This version by kd lang was performed in 2006 when Cohen was inducted into the Canadian Songwriters Hall of Fame. It's my favourite of all performances, and even Cohen and his partner Anjani Thomas were wowed at her rendition, calling the song "done to its ultimate blissful state of perfection".

Cohen has said Hallelujah is meant for those times when we can "reconcile and embrace the whole mess" (world and life conflicts) and that the song "is a desire to affirm my faith in life, not in some formal religious way but with enthusiasm, with emotion."

In these time of COVID-19, living socially distanced or isolated from our friends and loved ones, this is as good a time as any to be grateful for life, and sing a Hallelujah.

Not Afraid is part of Collection 4 - Boomer Tracks . This collection of six albums is designed for use in hospice palliative care, and contains music of the '50s, '60s and '70s.

Not Afraid CD highlights value of relationships at end-of-life journey

Mon, 17 Aug 2020 18:44:00 GMT

Room 217 ’s music was designed for use in palliative care. The music is produced at 60 beats per minute (resting heart rate) which has several benefits for the person receiving palliative care. It also aids others in the circle of care. This link will take you to a report that discusses the benefits of music in hospice palliative care .

Fear around death and dying is common, and normal. People may fear the pain of dying, or fear the unknown. Others may fear living without a loved one, and what a future without them might be like.

One of the albums in our Collection 4 – Boomer Tracks is titled Not Afraid . The title does not mean that we think people shouldn’t be scared; the title brings together a number of inspiring songs with a theme that there are good things to be found and appreciated every day, and that people are there to help carry the load. This music carries a message of support and love for moments that can be uncomfortable, even painful.

Because this collection is designed for Boomers, you’ll hear songs like Reach Out I’ll Be There , Lean on Me , That’s What Friends Are For , Turn, Turn, Turn and Imagine . These are songs that we have sung for decades that have confirmed friendships and close relationships. They are songs that we know off by heart and that resonate because they instill in us a sense of companionship, kinship, or belonging.

Our hope is that the collection of songs on Not Afraid will comfort everyone in the circle of care during a loved one’s end-of-life journey. If you want to listen to five samples from the album, click the album link above, and scroll to the bottom of the page. Not Afraid can be purchased as a single CD , or as part of Collection 4 .

Deb Bartlett is a journalist by profession, with a particular interest in the health and education beats. As Room 217’s Resource Lead, her experience as a writer lends valuable communication and networking expertise within the wide range of Room 217 customers and media relations.

The Beatles led the Invasion that changed North America

Tue, 11 Aug 2020 18:38:00 GMT

Do you remember where you were the first time you heard them? The Beatles? Had you heard them on the radio? Or was your first experience with The Beatles watching the Jack Paar show, or Ed Sullivan?

Beatlemania was the start of the British Invasion, a period in the mid ‘60s when not only music, but other aspects of British culture ballooned in popularity in North America. Though John, Paul, George and Ringo started it, the Invasion included Herman’s Hermits, the Rolling Stones, the Kinks, the Dave Clark Five, the Zombies and the Animals, in addition to solo acts like Dusty Springfield, Petula Clark, Marianne Faithfull and Lulu were part of the invasion.

This article in Vanity Fair outlines the impact of British bands on North American music. It took only eight days for I Want to Hold Your Hand to skyrocket from entering, to No. 1 on the American Top 40. Before 1964, only two British singles had topped Billboard's Hot 100, and in total they were top of the charts for four weeks. Between 1964-65, U.K. bands held the No. 1 spot for a combined 56 weeks. Read the article for more interesting stats on just how impactful the Brits were to the North American music scene.

The Invasion, however, extended beyond music. North America couldn’t get enough of all things British. Films starring actors from the U.K. were box office hits ( Mary Poppins, My Fair Lady and the James Bond series) and we loved the men with the accent, like Peter O’Toole, Michael Caine and Peter Sellers. We can also thank the Invasion for the introduction to the mini skirt, a staple of the first supermodels, Twiggy and Jean Shrimpton.

[IMAGE]

If you grew up in the ‘60s, you’re going to love our British Invasion album. It is one of six albums in Collection 4 , Boomer Tracks. Among the songs on the album are Downtown (Petula Clark), All My Lovin' (the Beatles), Doo Wah Diddy (Manfred Mann), Satisfaction (the Rolling Stones ), Ferry Cross the Mersey (Gerry and the Pacemakers), Time of the Season (the Zombies) and He Ain’t Heavy, He’s My Brother (the Hollies).

The album features guitars and violin, and is sure to please those of us who loved the music of the Invasion. If you want to check out the album, click here and scroll to the bottom on the page to listen to five samples from the album.

Though designed for palliative care, Room 217 music has many applications, including sleep promotion, relaxation, massage therapy and more.

House of the Rising Sun memorialized by The Animals’ guitar chord and organ music

Wed, 29 Jul 2020 13:44:00 GMT

Room 217’s British Invasion album features 16 tracks of soloists and bands from the U.K. that changed the North American music scene.

The band that kicked it off on this side of the Atlantic was the Beatles in 1964. Their singles Let It Be and I Want to Hold Your Hand can be found on our Warm Breezes and Forever Love albums.

Other bands that followed included The Rolling Stones , Herman’s Hermits , The Kinks , and The Zombies .

In this post, we’re looking at House of the Rising Sun by The Animals .

Wikipedia's entry on the song says in true folk ballad fashion, no one is sure who wrote it. The oldest know recording of it is from 1933, and many versions of it have been recorded since. Versions include one by Lead Belly’s wife (with him on guitar), Nina Simone, Joan Baez, Pete Seeger, Andy Griffith and Bob Dylan’s debut album.

The song has been performed from a man's and woman's perspective, with the singer being either a gambler or a prostitute. House of the Rising Sun warns listeners of the trouble to be found, and advises people “not to do the things I’ve done.”

The Animals' version sung from the point of view of a male gambler. The song is instantly recognizable by the guitar chord played as an arpeggio; Eric Burdon's gravelly voice, and the Vox Continental organ music are the final two components that make the song memorable.

The song is seen as revolutionary, as it is the first time a folk song was give the rock treatment.

Rolling Stone magazine lists House of the Rising Sun as the sixth most favourite song of the British Invasion. The song won the 1999 Grammy Hall of Fame Award.

You can learn more about Room 217's British Invasion album, and even listen to five samples, include House of the Rising Sun . Just scroll to the bottom of this page and take a listen.

British Invasion is one of six albums in Music Collection 4 - Boomer Tracks . Though the albums are designed for use in hospice palliative care, they have many other applications.

The Queen of Soul was looking for it, just a little bit…

Thu, 16 Jul 2020 20:37:00 GMT

R-E-S-P-E-C-T. That’s all you need to read and you know the song. In fact, you likely sang it as you read it.

Respect was written and originally recorded by Otis Redding in 1965. But it was Aretha Franklin ’s version of Respect , recorded two years later that we all know. Franklin won two Grammy awards for the performance, Best Rhythm and Blues Recording, and Best Rhythm and Blues Solo Vocal Performance, Female.

Her version of the song is a message to her man, that she wants a little respect from him when he comes home, or he may come home to find out she’s gone. Franklin re-arranged the song to make it hers. It was her sister’s idea to spell out the word respect, and she and her sisters (who were the backup singers) chose to add the repetitive “sock it to me” at the end. It was just an expression that meant, tell me, or let me have it (news).

The song not only became her signature song, but also an anthem for the feminism and the civil rights movements . Women empathized with the call for men to respect them, and Blacks saw in the song a demand for the equality that evaded them. Franklin’s father was a friend of Martin Luther King, and Franklin often attended rallies with King. Many heard her call for respect.

The song was named fifth in Rolling Stone ’s 500 Greatest Songs of All Time , and is part of the Rock and Roll Hall of Fame’s 500 Songs That Shaped Rock and Roll .

Respect is one of the 16 tracks on Room 217’s Soul City album. Among the others are How Sweet It Is , Tracks of My Tears , You Can’t Hurry Love , and When a Man Loves a Woman . Soul City is one of six albums in Music Collection 4, Boomer Tracks . The album can be purchased individually, or as part of the Collection.

Soul music tells stories, contributed to society

Tue, 07 Jul 2020 21:29:00 GMT

Room 217’s Collection 4 Boomer Tracks features the music of the ‘50s, ‘60s and ‘70s – the music many of us grew up listening to. When we think of the types of music that were influential, soul music has to be considered. Soul spawned some of the biggest hits and biggest stars in the music industry, and evolved into even more genres of music.

The Soul City album includes Stand By Me , I Heard It Through the Grapevine , How Sweet It Is , You Are the Sunshine of My Life , and 12 other songs that are solidly soul, but also crossover into pop, R&B, soft rock, and funk, depending on whose version of the recording is being discussed.

Soul music as a genre is rooted in African-American gospel, and rhythm and blues, and focuses on vocalists. The term “soul” referred to African-Americans’ culture and pride. Into the ‘60s, soul became a term that was synonymous with African-American pop music. According to liveabout.com soul is “music that arose out of the Black experience in American through the transmutation of gospel and rhythm and blues into a form of funky, secular testifying.” That testifying often told the stories of hardship, struggle, loss and love.

Among the artists credited with popularizing the genre are Ray Charles , Little Richard , Otis Redding , Sam Cooke , Jackie Wilson , and the Godfather of Soul, James Brown . The Soul City album features Respect , the signature song of the Queen of Soul, Aretha Franklin .

The website teachrock.org has some great pages about soul’s contribution to not just music, but society. Soul had a role in challenging racial boundaries , feminism , and the civil rights movement.

Soul created great music, but if you listen well, it also tells us great stories.

The Soul City album features the vocals of Marlene O'Neill, one of Canada's premier inspirational vocalists. Take a listen to a couple of samples from the album (scroll down to the bottom of this page to hear some clips) and you'll understand how Room 217's arrangement of these classics will sooth and settle.

Levels 1, 2 of Music Care Training move online, taught in real time

Wed, 24 Jun 2020 13:52:00 GMT

For six years, Room 217 ’s Music Care Training has given care providers baseline training in the use of music in care, which enables them to confidently and knowledgeably introduce music into their scopes of practice.

Classes have typically been comprised of a mix of long-term care recreation staff, hospice staff, adult day program staff, volunteers, music teachers, social workers, nurses, speech pathologists, family caregivers, and more. We’ve offered courses across Canada and the U.K. and balked at providing the training online because of the rich, in-person experience provided by Music Care Training to students.

COVID-19 has put the Foundation in a Catch-22. The restrictions on social distancing and group gatherings means that Room 217 can’t hold Music Care Training in person with caregiving peers, yet at the same time, the very real conditions people feel as effects of isolation and loneliness can be addressed by using music intentionally.

We waited to see how soon (or not!) COVID restrictions were being lifted. We are also very aware that many of our customers and stakeholders work with people who are more vulnerable to coronavirus and who live in group settings; those staff and volunteers may be even less willing to gather for training.

As a result, Room 217 is moving its Music Care Training online, for Level 1 and Level 2 . This means that our Music Care Training can be taken by anyone, anywhere!

Bev Foster , Room 217’s founder and executive director, is teaching the courses. Class size is being capped at 24, the same as in-person classes, so students won’t feel part of a mass training. Using the Zoom platform, students will be able to break into small groups, (just as they do in person) to do some of the work that makes the Music Care Training experience so intense.

Level 1, Fundamentals of Music Care: Theory and Context, teaches care providers about what music care is, how it can be applied to care settings, teaches 10 strategies for utilizing music care, and includes the development of a proposal for an initiative in a care setting. This is a two-day, 14-hour course.

Building on Level 1, Level 2 is called Effects of Music in Whole Person Care, and digs deeper into how music affects a person in specific contexts, how to implement programs into care settings, and the research that supports your learning.

The classes tend not to be homogenous, which often result in the generation and sharing of ideas from others sectors that can be adapted for use in other settings and contexts. By taking Music Care Training virtually, we hope that new ideas and connections will be shared and built by care providers from across Canada - and beyond! Now geography does not impact someone’s ability to take the training. In fact, we have registrants signed up in classes from B.C., Alberta, Saskatchewan, and Nova Scotia already.

There is still space in the two Level 1 courses, scheduled for July 23-24 , and Oct. 16-17 . If you’ve wanted to take Level 2, but it’s been a little too far to travel, here’s your chance. Take it from your home or workplace. Level 2 is being held Nov. 20-21 .

There are group discounts available for organizations that want to send 5 or more of their team to the training. For details or more information, contact Deb at dbartlett@room217.ca

What’s a Road Trip Without Route 66?

Tue, 02 Jun 2020 14:08:00 GMT

It is likely the best-known road in North America. It’s been written about, sung about, and filmed. It’s been cemented as the road to opportunity. If you haven’t guessed, I’m talking about Route 66 , the famous 2,448 mile highway that runs from Chicago IL to Los Angeles, CA.

Songwriter Bobby Troup invited to us to get our kicks on Route 66 , but that came seven years after John Steinbeck immortalized the highway in The Grapes of Wrath . Set during the Great Depression, the Joad family, and thousands like them made their way from America’s heartland to California in search of a better future. Ever since, Route 66 has been a metaphor for heading towards promise, and fulfilling dreams.

Route 66 was written in 1946, and recorded that year first by Nat King Cole then Bing Crosby with the Andrews Sisters. Several versions followed. Chuck Berry’s version was faster, and inspired the Rolling Stones to record it on their first album.

Other versions were recorded by The Manhattan Transfer, Depeche Mode, Michael Martin Murphey, The Brian Setzer Orchestra, Glenn Frey, and John Mayer.

Trivia Time: there are many other songs that reference places along Route 66. One was written by Jackson Browne and Glenn Frey, and recorded by the Eagles . Do you know what it is?

Take It Easy references the corner in Winslow, Arizona, which is located on Route 66. See the girl in the flat-bed Ford slowing down?

Reflections from the back seat

Wed, 20 May 2020 04:00:00 GMT

Ah, the road trip. Growing up, we had a woodie station wagon very similar to the one in the photo above. It was a Mercury Grand Marquis and it was a tank. A boat. Ours didn’t have a rear-facing seat like this one, so we used to bring sleeping bags and pillows and set up camp back there.

We had a ton of family fun in our station wagon. Rarely did we take long trips but we took many of them - to the cottage, to my grandfather’s in Britt, ON , to cousins’ houses in Windsor and Sarnia. The most memorable trip I took in the back of the station wagon was to Windsor. My youngest sister was sandwiched between my parents in the front, my cousin was between his parents in the back seat, and my younger sister and I were camped in the “very back” with the luggage. I don’t remember why we were travelling, I just remember so much fun and so many laughs.

Another key of road-tripping is riding shotgun and the responsibilities/benefits that go along with that position. The accompanying graphic is generated from a country with right-hand drive, but the rules are the same.

Technology has altered how travelling music is played; aux cords and playlists are much simpler to manage that eight-tracks, cassettes and CDs. But really, – tunes and travel just go together. Who doesn’t have memories of belting out songs while zipping along with the ragtop down, wind whipping your hair and sun shining on your face? Or thoughtfully pondering the words of wisdom or heartache a songwriter was sharing? Or snuggling with someone special listening to your song?

For the road warriors – professionals or hobbyists, Room 217 has created an album for palliative care called Road Trip . It features 17 country, rock and pop tunes guaranteed to bring back fond memories of travelling. It starts of with Roger Miller’s ode to the train-hopping hobo who calls himself (with tongue in cheek) King of the Road. Then it’s a version of Willie Nelson’s On the Road Again , Mustang Sally , Route 66 , Sweet Caroline , Born to be Wild , Sweet Home Alabama , Little Red Corvette and others.

Road Trip is one of six albums in Collection 4, Boomer Tracks , which contains music of the '50s, '60s and '70s.

The Road Trip album is sure to evoke memories of special times spent with special people through your journey of life.

COVID-19 is drawing attention to palliative care in LTC homes

Tue, 12 May 2020 17:44:00 GMT

Until recently, when a long-term care resident’s health took a turn for the worse, they were sent to hospital, where they would be cared for on the appropriate unit, possibly on the palliative or supportive care unit . Regardless of the unit, the patient received palliative care from hospital staff who were trained in providing palliative care.

As the availability of hospital beds became a problem, more long-term care residents stayed in place, and received palliative care from the staff. While there are positive aspects to not moving a sick, frail, elderly resident to be cared for by strangers at the end of their life, the flip side is that many long-term care staff have not been trained to provide palliative and end-of-life care, and the homes themselves may not be properly equipped to provide supportive care.

In the past few years, more long-term care homes are acknowledging that their residents are receiving palliative care. Many homes have created beautiful palliative care suites, in which residents die in a homey space surrounded by their loved ones. Many include an extra bed or cot for a family member to stay around the clock. Room 217 has seen an increase in staff seeking some training on providing palliative care, and specifically how the integration of music can support not only the person dying, but also their loved ones, and even staff.

Music has many benefits in palliative care. To help front-line caregivers (long-term care physicians, nurses, PSWs), volunteers, and friends and family understand how incorporating music into the provision of palliative care, Room 217 has created a Guide for Using Music in Hospice Palliative Care . It has been written in sections to simplify use according to the caregivers.

Music changes the physical environment, and helps all caregivers address the dying person’s physical, emotional and spiritual needs. Music can help everyone in that space to express whatever emotions they have - fear, joy, anger, or gratitude. For the caregivers , music fills space when words may escape them, and acts as a bridge for connection. Used intentionally, music can distract the dying person from pain, and may relieve them of physical symptoms like agitation, restlessness, shortness or breath, and insomnia. Breath can be synced to music to encourage regular respiration.

Music can also fill space. Even when no one is in the room with the dying person, music can create a peaceful ambiance, and a presence in the room. It is this final point that makes music such an important part of end-of-life care during these times of COVID-19. It is gut wrenching, but people are dying without their loved ones near in ICUs and long-term care homes across Canada. Room 217’s music was designed for palliative care; having our albums available means frontline healthcare workers can alleviate symptoms and assure families that their loved ones are not alone.

Room 217’s music collections were created to support caregivers. In addition to being a tool for them to use for the dying person, the albums are ideal for self-care, helping caregivers to de-stress and relax. Music also has a role in grief and bereavement . There are many ways that caregivers can support all care partners with music. For easy reference, check out our infographics on music in palliative care. There are four in total: Using Music in Hospice Palliative Care; 10 Ways to Use Music When Your Loved One is Dying; Room 217's Music Collections 1-4; and Meeting 7 HPC Clinical Goals with Music. We've designed these to be downloaded and printed.

Music in the liminal space: Part 3 - Implications

Wed, 11 Mar 2020 19:21:00 GMT

There is both qualitative and quantitative evidence to suggest that music has the capacity to fill liminal space and reach into the depths of consciousness. In part 1 , we looked at brain wave research and consciousness in persons who are dying, indicating that music may be a bridge to accompany them through the transition from life into consciousness beyond. In part 2 , we saw how the various dimensions of music appears to be recognizable in all states of consciousness, through hearing, entrainment, music as dialogical activity, and transcendence.

Palliative music therapist Deborah Salmon sees music as the container for the end-of-life journey. Music becomes the containing space that facilitates the process of connecting what is psychologically and spiritually significant, transforming experiences of suffering into meaning. [i] She believes that “the very breadth and depth of music makes it a wonderful tool at end-of-life by promoting relaxation, pain control, a sense of well-being and support of emotional and spiritual expression. Music has the capacity to speak directly to our hearts and souls.” [ii]

Implications are numerous. For the person dying, music can meet psychosocial and spiritual needs in the liminal space by being a companion through the transition, providing a backdrop for the experience, aesthetically beautifying the [clinical] space. It may promote sleep and distract from pain. For music can help de-stress and reduce anxiety, providing intimate space for release and closure. Music may add a sense of peacefulness to the space and provide comfort.

In a country where the population is aging [iii] , where every death impacts at least five people [iv] music as a means of accompanying people who are dying may become a necessary and cost-effective practice. As Boomers age and die, the demand for music as part of the dying process will increase. [v] There will be a demand for qualified music therapists, and other music care specialists like music thanatologists, harp therapists, and healthcare musicians. The need for baseline training to integrate music care strategies into formal and informal caregiving practices in hospice and palliative care will increase. As emerging technologies continue to discover new possibilities in consciousness, accessibility to music for this liminal space may increase.

Death is a topic I have never been afraid of talking about, perhaps because of my own personal belief in unending consciousness. What’s on the other side is some sort of continuation and only a mere breath away. For me, music has made that connection between here and there. I sensed it strongly in the death of my dad and my grandma and wrote about it in a song called For Now. The refrain goes like this:

Here-There, it only takes an instant

Here then There, one breath separates us

There-Here we’re bound in love together

Live our lives Here and There – for now

So, I wasn’t imagining it. My loved ones may really have had an enhanced sense of consciousness as they were imminently dying because they were accompanied by music. The music was bridge in the liminal space.

Bev Foster, MA, BEd, BMus, ARCT, AMus, is the Founder and Executive Director of the Room 217 Foundation, an organization dedicated to music and care. She is an experienced musician and educator who speaks and writes extensively on the power of music, especially in life limiting situations.

Music for Dementia topic of next webinar

Wed, 04 Mar 2020 17:45:00 GMT

We are gearing up for the March webinar already, and this month’s presenter comes to you from the U.K. Grace Meadows will be speaking about Music for Dementia 2020 , and the campaign to use music to bring about change in dementia care.

Grace is a music therapist and a director with Music for Dementia 2020, The Utley Foundation in London, U.K. She is leading the campaign to make music available for people living with dementia.

It was during her investigation into music therapy as a scope of practice that Grace witnessed the impact that music had on a group of older adults with dementia. Grace saw how the music therapist orchestrated the building of a connection between people who just moments before had been withdrawn and closed off. Soon they were participating together, singing and dancing; this is how Grace wanted to utilize her gift of music.

She completed her training in 2006, and has been with the Utley Foundation for 18 months. Her job is multi-faceted, and includes roles likes working with care homes to investigate what they’re doing with music, working with awareness and public relations, and working with policy makers about how music can become ingrained in dementia care.

In the webinar, Grace will discuss Music for Dementia 2020, and its campaign to make music available for everyone living with dementia. It is one of the leading causes of death in the U.K.; 850,000 people are currently living with a diagnosis – with an aging population, this number is set to rise to 1 million by 2021. With no cure, the emphasis is now on personalizing dementia care to help people live as well as they can. In this presentation, Grace will outline the ambitions of the campaign, and how we can help people living with dementia to live well by personalizing dementia care through music.

The learning objectives for her webinar include having a good understanding of the context of music and dementia care in the U.K., being able to identify and describe the NHS (National Health Service) Universal Personalised Care Model, and being able to identify and describe the ways in which music is used to personalize dementia care.

Grace has worked in adult mental health, special education and most recently in a Child Development Service and Maternity Service within a London NHS Hospital Trust. Alongside this, she plays contrabassoon and bassoon with various semi-professional and amateur orchestras across London.

The British Columbia Therapeutic Recreation Association ’s education committee has received approval from the National Council for Therapeutic Recreation Certification for .1 continuing education credit for attending this webinar, and had determined that it qualified for one of the special practice areas.

Here’s the link to register for Wednesday’s webinar. Our webinars take place the second Wednesday of the month, from 3:30 to 4:30 p.m. ET. If you miss it, you can always go back to Room 217’s reference library and watch it later. Did you know we have several years’ worth of webinars in the library? You will find journal articles, blog posts and archived webinars by searching key words.

Music in the liminal space: Part 2 Musical Dimensions

Wed, 26 Feb 2020 15:22:00 GMT

The notion of music as a sound bridge in the liminal space is precisely what music thanatologist, Therese Shroeder-Sheker believes. Music thanatology is a musical practice of mid-wifery for dying people using the voice and harp in bedside vigil at imminent death and is based on this idea. Her personal belief in unending consciousness informs her musical approach as she uses music to help people cross over.

But what is it about music’s capacity that may fill liminal space, that may reach conscious, altered, vegetative, minimally conscious, subconscious or unconscious states? Is there something about the nature of music that responds to the state of unending consciousness which some call non-local space and others call the spirit or soul? I would suggest there are several dimensions of music that intersect with neurological events in the liminal space: hearing, entrainment , music as dialogical activity, and transcendence.

An Australian palliative physician, Barbato, did a study of 17 hospice patients who were dying to understand arousal states associated with pain perception or pain relief. [i] He used a modified method of EEG monitoring called bispectral index monitoring (BIS) which applies a single, small, flexible sensor to the forehead making it patient-friendly and relatively unintrusive. [ii] One of the anecdotal components of his study suggested that unconscious patients who are dying are able to hear. In one case, the BIS rose sharply from 40-60 when the patient’s bedside phone rang. On two other occasions, the BIS rose when the mother spoke into the patient’s ear. One patient, whose BIS levels were consistently at 55, awoke and spoke to her family after a prolonged period of unconsciousness and her levels touched 100. She died several hours later. This study suggests that unconscious terminally ill patients can hear sounds as indicated by spiked brain wave activity. [iii]

Many nurses have reported this same observation. I experienced this with my grandmother, who had impaired hearing, yet when she was imminently dying gave every indication that she could hear. She turned her head slightly towards the recording device. The timing of her death appeared intentional; her last breath on the last cadence of the last song of the music we had played more than a dozen times during those last hours, a song called All through the Night . Hearing implies neural activity and connectivity in auditory cortex functioning which seems to be functioning in the liminal space.

What about the clinically dead? People who have had a near-death experience (NDE) describe conversations in both alive and dead domains. NDE survivors talk about being in a tunnel. A common experience is that they hear music in the tunnel, or in the place of light. [iv]

What about the brain dead? Ansgar Herkenrath, a German music therapist believes that music provides references for patients in pervasive vegetative states (PVS.) She did a qualitative study of music therapy with patients in PVS. The research was based on her work at a long-term nursing institution for adult residents with severe neurological handicaps in Haus Königsborn, in Unna Germany. Participants in her study were between 20 and 50 years of age and had been in the PVS state for between 18 months and seven years.

In PVS, there are pathological movements that are reflexive, and the external appearance alone does not indicate the quality of these movements. Rather, assessment of these reflexes requires situative and temporal context. In Herkenrath’s study, she accessed situations that showed changes in parameters of respiration, shifts in head and eyes towards the source of sounds and/or a variety of movements. She describes these situations as reactions, not reflexes. She defines reaction as a response to action that has been perceived and that leads to an emotional experience. Furthermore, a reaction must reveal a situative and a temporal reference in order to be distinguishable from reflex. According to Herkenrath, music provides both situative and temporal references for PVS patients. An orientation of the head and eyes towards the source of a sound which may change implies a situative connection. Temporal structure is inherent in musical perception including beat and melodic structure i.e. phrase, cadence. [v]

Herkenrath’s study shows that PVS patients respond to sound locations through small gestures like head turning and eyeblinking. Dr. Adrian Owen’s research around consciousness with PVS patients shows through fMRI that brain centres concerned with mental imagining are activated when PVS patients are asked questions. [vi] This implies that people in PVS can hear and that hearing may be part of endless consciousness. It may also suggest that music can accompany people in their transition between life and death.

Entrainment is a phenomenon that happens when the body becomes synchronized with environmental vibrations. Music synchronizes with our bodies in one of two ways: heart rate entrainment and neural entrainment. In the liminal state, agitation and distressed breathing can be an inhibiting factor. Music paced gently to entrain with heart rate and breathing at 50-60 beats per minute may help reduce agitation and help breathing become more evenly paced. [vii] [viii] For neural entrainment, the stimulative effect comes in sonic events per second i.e. hz (herz) or cps (cycles per second). An event or cycle is how many notes are played in that second. In order to stimulate deep sleep, for example, 2 cycles or events are needed per second, regardless of the beat in the music. Evidence from Barbato’s Australian study suggests that brain wave activity in unconscious palliative patients ranged in the Delta and Theta ranges with some indicators of Alpha. Music that is designed to target these brain wave states may also be effective in terms of entrainment in the liminal state. (Delta (1-4 cps), Theta (4-7 cps), Alpha (7-12 cps).

David Aldridge calls us to expand our notion of consciousness to consciousness as dialogical activity. He believes that at the heart of consciousness is mutuality and a knowing “with others”. He claims we have interior understandings that are privatized, but we also have experiences that are external and socialized. [ix] Herkenrath’s practise with PVS patients is based on a deep philosophical belief reflecting Buber’s “I-Thou” activity. [x] Her approach with music and brain dead patients is a path whose objective is dialogue with the self of the other person. [xi]

Music may play an important role in relationship completion, a dialogical activity and a conscious task of the dying. [xii] Dr. Amy Clements-Cortes suggests that songs are useful to express these sentiments of completion: I love you, Thank you, Forgive me/I forgive you and Good-bye. She writes four case studies where she skilfully used a song-writing technique to facilitate relationship completion. [xiii] I watched my mom express her love, thanks and good-bye to her mother, my grandmother, using a recording. In particular, there were two songs that mom used as a backdrop for completing the relationship: Eagles’ Wings [xiv] and Wind Beneath My Wings. [xv] The words of the music enabled her to say what she found hard to articulate.

Music, live or recorded, may be liminal accompaniment and provide “other consciousness” to the person who is dying. Most aspects of dying are singular: pain, chaos, loss of control. Music itself may be the audio-analgesic in the control of pain. [xvi] Music may provide structure when there is chaos and be used as a coping strategy to help a patient regain a sense of control. [xvii]

At end-of-life, people often contend with devastating symptoms and events that lead to the need for transcendence, the desire to see beyond the illness and physical reality and ascertain their fundamental realities. The NDE is the ultimate transcendent experience where a patient dies temporarily, crosses over, experiences a new reality, often hears music, visits with deceased loved ones, has a sense of love and connection.

Music therapist, Cheryl Dileo claims that transcendence occurs at end-of-life with relative ease in music therapy. She says:

Transcendence is most likely due to the multi-dimensional nature of music and its tendency to reach multiple domains simultaneously. Music surpasses boundaries and can transport persons through time and place into realms of consciousness beyond the ego, beyond the medical condition and beyond physical limits. When a person is ill, suffering and in a spiritual quandary, the ineffable nature of music can bring breath and light and can lead to heightened states of spiritual awareness. Patients often report feeling the presence of a Higher Power in music, an experience that can validate faith and a sense of meaning. [xviii]

The ability to rise above material conscious and unconscious suffering, and enter a transcendent, endless experience of consciousness is an important factor in the liminal space.

Part three of this three-part series will be published Wednesday, March 6, 2020. The first part, if you missed it, was published Feb. 12 and can be found here .

Music in the liminal space: Part 1 Neurology and Consciousness

Thu, 13 Feb 2020 17:47:00 GMT

I have borne witness to the dying trajectories of three loved ones. It appeared to me that each one was most receptive to music when body systems were shutting down and their spirits were preparing to travel on. That in-between, liminal space can be filled with music based on neurological events taking place at death, the unique nature of music and the bridging of the two. My sense is that music in the liminal space between life and death is heard by the dying one and may, in fact, be helpful.

Death comes in different ways. No matter what way death comes, biologically, medically and legally, the absence of cortical activity signifies death. Clinical death is defined as a period of unconsciousness caused by a lack of oxygen to the brain because either circulation or breathing or both have stopped. If no resuscitation takes place, the brain cells will suffer irreparable damage within five to ten minutes and the patient will nearly always die. [i] Pronouncement of clinical death is usually based on three criteria: absence of pulse or heart sounds, absence of spontaneous respirations, and absence of corneal (eye) reflexes. [ii] Brain death is diagnosed when a large part of the cerebral cortex and the brain stem have sustained irreparable damage. In brain death a person may be “kept alive” by a ventilator. EEG plays an important role in the diagnosis of brain death and is used in intensive care units for the brain injured or catastrophically neurologically diseased. [iii] In either a clinical or brain death, a “flat” EEG i.e. straight line, shows that any electrical activity in the cerebral cortex is absent. [iv]

In either case, consciousness is an important question in the liminal state, and it seems to be a baffling question. While measuring brain wave activity determines biological death, it does not give us a basis for conscious activity, its beginning and end. What is the basis of consciousness? Does consciousness end with death? If the answer to this question is yes, then music in the liminal space may have limitations and be concerned with biological relationships only. If the answer is no, then the possibilities may be unending.

The term consciousness is hard to define. Someone in a state of deep and dreamless sleep usually experiences no consciousness. Concussion, fainting, undergoing anesthesia causes unconsciousness. Waking consciousness refers to a person who is awake, aware of thoughts, feelings, emotions and memories, known as objects of consciousness. The ability to perceive and experience depends on selective intention and attention. [v] Much of psychiatry is concerned with memories of experiences in the sub-conscious. We may have altered states of consciousness through techniques like hypnosis or through hallucinogens or opioids.

The findings of Near-Death Experience (NDE) research suggest that consciousness is present at death and what lies after death. In view of the NDE reports of consciousness, Dutch cardiologist and NDE researcher Van Lommel says that death, like birth, may be a mere passing from one state of consciousness into another. He believes consciousness is not confined to the brain, because consciousness is non-local, and our brain facilitates rather than produces our experience of consciousness. [vi]

Quantum physics (QP) and the theory that consciousness and memories are stored in non-local space as wave functions, would also support the view of unending consciousness. In QP, consciousness may be thought of as nonlocal information storage in which memory is nonlocally and instantaneously accessible. This would explain the possibility of perception during an out-of-body experience as well as life review with detailed memories and images during an NDE in a dimension without time and distance. [vii]

The ancient Greek philosopher, Plato , believed the soul to be imprisoned in the body and restricted by the senses. Death was an awakening, a remembering of the eternal soul. Socrates told his friends on the day he was to die, “what is that which is termed death, but this very separation and release of the soul from the body?” [viii]

Mysticism and spirituality have historically believed that consciousness is endless. Traditional Hindus believe that the “Self” is immortal. The human soul does not begin with conception, rather we are in essence immortal. Buddhists believe in the cycle of death and rebirth. A person cannot die, but a body can. The time it takes a body to die may be brief, or last a long time depending on the time the consciousness needs to vacate the body. Death is like sleeping and the bardo, the intermediate state that follows death, lasts forty-nine days and is much like a dream between death and a new life. According to Tibetan Buddhists, the soul begins its new life on the fiftieth day after death. Jewish tradition also teaches that death does not destroy the soul, rather death represents a transition from one level of consciousness to another, to a spiritual, disembodied consciousness. [ix] The Kabbalah teaches that the human essence, our consciousness or soul, is a complex phenomenon consisting of different layers: nefesh which survives physical death, ruach , the essence of awareness, neshama the collective conscience, chaya, the life-force essence, supreme ultimate consciousness and yechida , unity with the transcendent. [x] According to Christianity, we are born of the flesh and the spirit. “As in Adam all die, so in Christ all will be made alive.” [xi] Death happens but it is not the end. Further in Corinthians, the resurrection of the dead is explained. There will be a new body, one that is raised imperishable, a spiritual body. [xii] Christians believe that there is eternal life and that death is merely falling asleep, modeled by Christ himself in human suffering, death and resurrection. What a person is conscious of is that when they are absent from the body, they are present with the Lord. [xiii] Consciousness revolves around community with the Eternal Creator. Muslims believe that at the time of judgment at the end of time, each person will be led before Allah for an individual trial. All the Prophets of God called their people to believe in life after death; not believing would mean denying God. God has given man perceptual, rational, aesthetic and moral consciousness that guides a man regarding realities that cannot be verified through sensory data. [xiv] The Quaran also states that the present life is a preparation for the eternal life after death. [xv]

Music therapist Colin Lee observes that the process of music and dying have qualities in common. [xvi] One of the demands of death, he says, is being open to constant transformation, including states of consciousness. He believes that the acclimating to the constant change in parameters and forms of the music, experiencing the different states of consciousnesses to which one is brought by different types of music may reflect the dying process. Lee further states that music is a life-giving force, of this world. According to Lee, there is a dilemma: music can express the essence of dying, but music itself mediates life. [xvii]

If endless consciousness is a possibility, then music may be the conscious life-giving force that helps make the liminal transition. Perhaps music is a sound bridge transporting consciousness from one place to another, or a transformational bridge in the painful parting of biological and spiritual substance.

Parts two and three of this three-part series will be published Wednesday, Feb. 26, 2020 and Wednesday March 6, 2020.

Learn about pulsed stimulation therapy in webinar

Mon, 10 Feb 2020 15:28:00 GMT

February’s webinar is just days away, and you won’t want to miss this one.

Dr. Lee Bartel is professor emeritus of music, former associate dean – research at the Faculty of Music, University of Toronto , and the founding director of the Music and Health Research Collaboratory .

Lee has a broad interest in music and health, ranging through music medicine, music therapy, music neuroscience, health in culture, musician’s health, music performance science, and music in human development. He is particularly interested in applications of music in conditions of aging.

He is presenting on Wednesday, Feb. 12 on Pulsed Stimulation Therapy – Body, Blood, Bone, Brain .

Lee’s presentation will examine a model response to pulsed stimulation and how it can affect us from a psychological level to a cellular level. It will look specifically at how pulsed stimulation is translated to a response in the body. Clinical treatments and research will be described in which pulsed stimulation is applied to body, blood, bone, and brain. This will include treatments for conditions like pain, stroke, Alzheimer’s, spinal alignment, bone density, circulation, and depression.

Three measurable outcomes the audience will learn by participating in Lee’s session are: identify four steps in the translation of pulsed stimulation to a cellular response in the body; describe specific “sound based pulsation” applications to at least three medical conditions with research demonstrated effect; identify four brain effects related to Alzheimer’s that research has shown may result from pulsed stimulation of the brain.

Music and the Aging Brain course launched at virtual learning studio

Thu, 30 Jan 2020 20:49:00 GMT

One of Room 217 ’s four pillars is education and training . Through the years, the Foundation has facilitated sharing information about using music in care in a number of ways; the annual Music Care Conference ; our Music Care Training ; Music Care Webinars ; and now through the Virtual Learning Studio . We know that people have different learning styles, interests, budgets and time restraints. One thing we hear frequently as we meet with stakeholder groups across the country is that attending training from a rural or remote area is a big problem when it comes to accessing continuing education and that’s part of the reason we launched the Virtual Learning Studio. We wanted to make learning accessible to everyone.

The first course we launched, taught by music therapist Sarah Pearson, is called Recruiting Musicians for Health and Social Care . If you’re an administrator or program leader, you’ll want to take a look at this course. It walks you through how to handle inquiries from musicians, how to create simple music programs for health care settings, how to recruit and screen musicians, manage the programs, and support the musicians you’ve recruited. There are eight modules to the course.

On Jan. 15 we launched the second Virtual Learning Studio course, Music and the Aging Brain . Music and health educator Chelsea Mackinnon teaches this course. She walks us through how sounds enters the nervous system and is interpreted by the brain, then talks about brain-based effects of music in four situations faced by many people as they age – dementia, Parkinson’s Disease, stroke, and pain. She includes links to reach out for more information and resources.

All modules have a quiz to ensure students are understanding what they’ve been taught, and certificates of completion are issued once the course has been successful finished. Some professionals may be able to use these as CEUs for their organizations.

Learning takes place on your schedule. You can start and stop the modules as you’d like, and work at your own pace. Register for a free account , then sign up and pay for the courses you want to take.

Deb Bartlett is a journalist by profession, with a particular interest in the health and education beats. As Room 217’s Resource Development Lead, her experience as a writer lends valuable communication and networking expertise within the wide range of Room 217 customers and media relations. Contact Deb at dbartlett@room217.ca

5 Effects of Music at End of Life

Tue, 14 Jan 2020 18:17:00 GMT

It was 18 years ago today that my dad died. Music was a big part of how I supported him through his illness and a significant part in how my brothers and sisters, mom and I let him go as we surrounded him in his hospital bed.

My personal experience with dad was a great teacher about the power of music at end of life. Since then, I have made the same journey with others. I have also given myself to disciplined study about the effects of music at the end of life’s journey.

Canadian pioneer, palliative music therapist Deborah Salmon says, “the very breadth and depth of music makes it a wonderful tool at end of life by promoting relaxation, pain control, a sense of well-being and support of emotional and spiritual expression. Music has the capacity to speak directly to our hearts and souls.”

Research tells us that at end of life, the right kind of music can potentiate pain, can entrain or sync up with brain wave activity and heart rate activity. Music can provide a containing space for the emotions that come with farewells and any unfinished business.

While all of this is true, for me, there are five significant ways music can be effective at end of life.

1. Music helps create legacy

Songs have and hold personal meanings for each of us. Songs can capture the essence of how we feel, communicate a personal truth or universal principle that we value, express sentiments, and trigger memories. That’s why in the work of legacy creation, music can be powerful.

Songs are used as prompts for structured legacy work like dignity therapy , playlists for loved ones or memorial CDs.

In some instances, creating a song might be the gift that is left behind to be remembered by. The song may express something specific.

In 2013, I composed a legacy song for Dr. Larry Librach , a Canadian palliative care ambassador. The song was meant to honour Larry at a palliative care conference. When he heard it, he wanted it recorded as a legacy piece for the memory boxes he was creating for his loved ones. The song told a part of his story that would live on. Lyrics are written here .

2. Music makes connections

Music makes connections at many levels, from the cellular to the neuronal, to the relational. At end of life, music can help people connect when it doesn’t seem possible, when loved ones are not able to be physically present, and once a person has passed through.

Sometimes when medication, brain wave activity or confusion get in the way of relating, a song can make the connection for us. That’s what happened for Joy Shaw and her sister Annie. While Annie was heavily sedated in the palliative care unit, Joy used music to connect with her

Studies using fMRI have indicated that patients who are diagnosed with vegetative states may retain more awareness than their clinical assessments suggest. This suggests that in some patients, levels of brain activity like music cognition, may be preserved. This has huge ramifications for caregivers wanting to connect with loved ones who may be comatose or in a vegetative state.

In our work we have heard from many families that a song will keep them connected to their loved one, once deceased. They feel, smell, hear, see their loved one in that special song that holds deep association and communion.

One thing that technology can do when someone is dying is literally have people joined in a phone call or video chat around music. I know one family with eight siblings who used this to their advantage when their mother was dying. Four of them were able to be around her bedside. The other four were in various cities across Canada and couldn’t get there in time. They connected via technology and sang a final song together.

3. Music can be comforting

Preferential music and appropriately selected music can be tremendously comforting at times of loss. This might be because of what the music means to people in the room. There is personal meaning.

Unfamiliar music can also be comforting at times. The song may have new words to encapsulate a grief or sorrow; it might be a beautiful melody or rich harmonic texture that touches the soul deeply.

For me, music has been a tremendous source of comfort in the deaths I have been a part of. Music has helped me as a caregiver process and anticipate loss, helping me let go and release the person into Divine Presence and help me journey through the after process.

Accepting loss is part of the work we do to be emotionally healthy functioning humans. Grief work acknowledges seasons of mourning. According to Dr. Joy Berger , certain kinds of songs accompany these seasons. In my case, music helps me to let go of the outcome into the Greater Story, embrace my sense of loss, and begin to make meaning of it.

Using music to comfort is extremely personal. What works for one, may or may not work for another, so it cannot be laid on or formulaic. The key to this may well be the “right” music, and timing, what a person can absorb emotionally at a given time.

4. Music is an auditory sanctuary

Sometimes, thinking about the impact of sound environments in care settings is a low priority, or maybe not a priority at all. Once I visited an elderly friend who was dying. The head of his bed was at a wall. On the other side of the wall, the hospital was doing repair work with noisy equipment. It was anything but peaceful. He was agitated all the time.

Displeasing sounds can affect heart rate variability, breathing, mood, pain. Pleasing sounds can ameloriate these very same variables.

Displeasing sounds may not only be about beeps, buzzers and noisy equipment. It may be about sounds that are culturally unfamiliar or sounds that have painful associations.

We can do better. We need to be thoughtful and mindful of the impact sound has on a person’s whole being whether we realize it or not.

I’ve been in hospices and palliative care settings where intention has been given to the auditory space like the sound of running water through natural walls or fountains, live music that is gentle and sensitive, designed music for end of life and playing devices in every room, where culturally specific music – live and recorded – is available.

One place where auditory sanctuary is typically well-thought through is in the context of Medical Assistance in Dying (MAiD.) SarahRose Black , a palliative music therapist whose PhD work is in music and MAiD has found that music choices are an important part of the scenario. People are intentional about music that is chosen both for the one leaving and for those who remain, how and by whom the music will be delivered. Controlling the auditory space and claiming it as sanctuary often seems to be part of this process.

5. Music helps to complete the relationship

Relationship completion is the work to be done by someone who is dying. In some deaths that are accidental, sudden or complicated, this is not possible to do. In deaths where there is time between a diagnosis and last breath, there are several tasks to be completed. Often these tasks are co-related with death acceptance .

Dr. Ira Byock , an American palliative physician named these tasks as sentiments to be expressed. There are four of them: Thank you, I forgive you/please forgive me, I love you and Good-bye. Dr. Amy Clements-Cortes dedicated her doctoral work to how music assists in relationship completion. Using four case studies, she works with clients who are dying to use music in expressing these four messages.

What I like about the relationship completion framework is that these sentiments are universal human sentiments and songs in any style can be found in every language to express these ideas.

One of the things I’ve done since dad died is create resources that can be used by other families and caregivers at end of life that are music-based . Music Collections promote all five of these effects at end of life. They are easily downloadable or streamed. A particularly helpful tool for legacy work is called Life Review , one of the sets of Music Care Conversation Cards .

I suppose you could say I’ve been making meaning out my lived experience with dad by helping others use music for legacy, connection, comfort, auditory sanctuary and relationship completion. I’m a big believer.

Learn how musicians are part of the system of healthcare in U.K.

Mon, 30 Dec 2019 15:29:00 GMT

It’s hard to believe that I am writing about the first webinar of 2020 already. Wasn’t it only a few years ago we were worried about Y2K ? I hope you’ve enjoyed (maybe even are still enjoying!) a wonderful holiday season, and have had time for some rest and relaxation.

Those of you who visit this space regularly know that one of the goals of Room 217 is to educate and train caregivers to integrate music into regular practice. Our webinars are a great way to introduce people to Room 217’s educational offerings. Additionally, we hold an annual Music Care Conference , Music Care Training , as well as our newest education programs, Music Care Skills Day (one for hospice palliative care workers, and one for recreation therapists) and the Virtual Learning Studio .

Over the past three years, we’ve been building a beautiful relationship with some kindred spirits in Nottingham, U.K. We’ve held two Music Care Conferences there, have networked with other health arts organizations, and have trained several Level 1 and 2 classes of Music Care Training. One of the great relationships we’ve been building is with the team from OPUS Music , who are musicians working in healthcare.

Musicians in Healthcare is the topic of the January 8 webinar, presented by Nick Cutts . Nick is not only one of the trainers of Room 217’s Music Care Training in the U.K., but he is a co-founder of OPUS Music Community Interest Company. OPUS is a specialist in taking music-making into a range of healthcare settings, from neonatal intensive care units to teen mental health settings, to end-of-life care.

OPUS has gained national and international attention for becoming part of the healthcare system in many of the settings where musicians work.

Nick’s webinar session will explore why OPUS’ apparoach to music-making is gaining such positive results and attention from the healthcare sector.

For those of you who attend our webinars for professional reasons, Nick has provided us with three measurable outcomes: understand the developing role of music as a cultural intervention with U.K. healthcare settings; identify key “intentions” of a Musician in Healthcare working within a clinical setting; understand OPUS’ approaches to supporting systemic change toward the integrated us of music within healthcare.

Webinars are free, but attendees need to register to get the link. And did you know all of our webinars are archived? Visit the reference library to access past webinars.

Research shows music enhances exercise

Tue, 17 Dec 2019 15:48:00 GMT

This article was written by Sabatinie Zavier, and is part of a series provided by upper year health sciences students at McMaster University.

When I was younger I wished I could run like the Flash . I was already pretty fast, but I’ve always had very low stamina. I have to push myself when I run and often find it unbearable to continue after a few minutes. Yet, somehow when my lungs are burning and my legs are about to give out, a new song plays through my headphones and I am renewed with a powerful force that keeps me going. Whenever I hear music playing, my body is able to access a hidden supply of energy which makes the urge to move, run or dance irresistible. I learned you don’t need super powers when you have music. It has a very distinct power of its own, and although it sometimes feels magical, music has scientifically been proven to fuel motivation and enhance performance.

There are numerous studies that have found listening to music can effectively improve physical performance during workouts in young athletes. However, with increasing rates of cardiovascular disease in older adults, the effects of music during exercise has also begun to be investigated for cardiac rehabilitation patients. Cardiac rehabilitation is designed for those recovering from a heart surgery or managing a heart condition. Along with education and counselling, it is a cardiac rehabilitation promotes exercises to improve cardiovascular and muscular health. It is well known that achieving or maintaining fitness is correlated to a healthier heart and a longer life, especially for the population suffering from heart conditions.

Yet, patient compliance with the recommended dosage of daily exercise is low. This is not surprising as many, including myself, struggle to commit to an exercise routine. However, there are two factors that promote compliance; high pleasure derivation and low perceived exertion. In other words, if a task brings high satisfaction and pleasure while requiring minimal effort, one is more likely to repeat the task and commit to it long term.

It was found that music can increase compliance to exercise based on these two factors. However, the type of music used can result in different outcomes depending on the type of exercise. For athletes, stimulating high tempo music is found to be effective as it successfully fuels endurance and the ability to reach greater intensity levels. Using music with a faster, steady rhythm encourages synchronization with the set rhythm without experiencing additional fatigue. However, in a cardiac rehabilitation setting, it is lower intensity exercises that are recommended. Thus in order to reduce one’s ratings of perceived exertion, it was found that sedative - not stimulating tempos, derive the best results. The use of music also increased feelings of pleasure with task completion; leaving the participant with positive sensations associated with the exercise further promotes patient compliance.

The ability of music to increase one’s strength and perseverance has been connected to its ability to harmoniously stimulate major brain areas. Music listening activates various lobes affecting the control of motor movements, rhythm and coordination, pitch and tone processing as well as emotion. All of which happen to also be pivotal for athletic performance. Music employs competing sensory stimuli which can effectively distract the listener from pain experienced during exercising. On a hormonal level, listening to music that one finds pleasant releases serotonin, known as the “feel-good” hormone as well as dopamine, a natural pain blocker. These desirable changes are enhanced by the ability of music to simultaneously reduce levels of cortisol, the stress hormone. These complimentary reactions contribute to the overall positive experience of listening to music. These undeniable benefits urge the incorporation of music into cardiac rehabilitation programs. With a better mood and reduced pain perception, music can aid people in meeting their personal or medical fitness goals and ultimately help improve lives.

If you’re interested in more research about music and health, be sure to visit Room 217’s research page , where you’ll find blog posts, archived webinars, and links to search topics.

Voice, Choice and the Musical Mirror: Music Exploration for Special Needs Adults

Mon, 09 Dec 2019 19:35:00 GMT

This is the third in a series of articles that examine the impact Music Care Training has in care settings and contexts. Watch for monthly stories from Level 3 graduates. This week’s blog post is written by Alison Dale, who works as a director/musician/writer. She operates Soul Fire Express: Music Care and Communication in Stratford, ON.

“ To all people, but in particular to people with a communication disorder, listening to music and music-making means communication.” - Claus Bang, Danish Music Therapist

Everyone has a relationship with music, and music is a relational bridge between inner and outer worlds. I see this every day in my work with special needs adults. Many of my clients have limited verbal communication skills, yet they literally burst out of themselves when they interact directly with music.

One approach I often use is something I call “musical mirroring.” I find out what matters to a client (a song, a relationship, an expression, something that makes them laugh, for example) and then create individual, personal music that reflects this back to them. I record the song and invite them to be part of it in whatever way they can. When they hear themselves reflected back in this “musical mirror”, it strengthens both their sense of identity, and their place in the larger context of life that the music represents. When the song is personal, the context has meaning and relevance for them, and they get to be a character in their own music. The interrelated parts of a song can also represent a microcosm of community.

Through musical mirroring, individuals hear how their own voices add to a greater whole. Even if they are limited in their conversational abilities, they can still they can still take part by translating their life energy into vocal sounds, bringing joy, relief, release, and a sense of connection, along with artistic and emotional engagement.

Two of my music clients are graduates of the W. Ross McDonald School for the Blind in Brantford, and participated in a music program there. I had the chance to bring them back together in a musical setting again, and we’ve created a number of songs on which they are both recorded. This keeps the creative connection alive between them, and preserves their sense of personal voice and creative community. Chantal and Stephen are always excited to hear their own music, and they know their own parts by heart. The songs themselves have become creative settings in which they can meet even when they aren’t together, and my studio is often filled with whoops of joy and laughter as they listen to themselves.

We are all unique, and we all get a better sense of ourselves when we are “selves in relation.” Musical mirroring reflects this uniqueness, and reinforces both personal identity and connection to the bigger picture of life.

Learn how music connects people with dementia to past

Tue, 03 Dec 2019 15:52:00 GMT

It’s hard to believe that our last webinar of 2019 takes place next week. On Wednesday, Dec. 11, Sarah Metcalfe will present on Playlist for Life . Playlist for Life is a charity in the U.K. that believes that everyone with dementia should have a unique, personal playlist, and that everyone who loves or cares for them should know how to use it . (I so love this page on their website that I just linked to it – not even going to try to explain it).

Followers of this blog space know that music for dementia is important to Room 217; it’s why we developed and created the Pathways Singing Program . Research into why music works for dementia continues, and Playlist for Life keeps abreast of the research. As Playlist for Life points out, music therapy is among the interventions show to reduce behavioural symptoms, specifically aggressive behaviour and agitation.

Playlist for Life’s practice is based on the Gerdner Protocol 5th Edition , and recommends listening to music 30 minutes before difficult times or activities.

A playlist is a collection of songs or music. Each of our playlists for life is unique – just like us. It will contain different songs and types of music from different times in our life. They will remind us of people, hobbies, vacations, challenges, heartbreak, and happiness. Sarah Metcalfe, Chief Executive of Playlist for Life talks about the organization’s history and purpose in this YouTube video .

Playlist for Life encourages and trains carers to create and use playlists for the people they are supporting with dementia. The charity has also created the 100 Years: A Century of Song book. It lists the top 100 songs in the U.K. for 100 years.

Sarah Metcalfe will present the webinar Dec. 11 from 3:30 to 4:30 p.m. ET Dec. 11. You can register here for the free webinar. Want to learn a little about Sarah? Check out her playlist .

Seeing firsthand music’s effect on dementia

Thu, 28 Nov 2019 19:23:00 GMT

This is the second in a series introducing readers to the staff at Room 217 Foundation. This week’s blog is written by Deb Bartlett, resource lead at Room217.

I first heard about Room 217 about 10 years ago, when I was working at a stakeholder news agency. I also worked freelance for a community newspaper in Port Perry. I saw a notice about the upcoming Music Care Conference (as it pertained to one of our clients) but noted the information so I could follow up with a feature on Room 217 for the publication. Bev and I met at a Tim Horton’s for the interview. She gave me a couple of CDs, and told me to go home and listen.

My Dad lived with us then, after he’d been diagnosed with early onset dementia and sold the family home. When I got home from work, his habit was to come and chat with me in the kitchen while I prepared dinner. The afternoon that I received those CDs from Bev, I told him we had to listen while I worked. When La Vie En Rose came on, my Dad started singing word for word. I was surprised – it’s not a song I’d ever heard him sing before. When I asked how he knew that song, he launched into hour-long recollection about how his Francophone mom would put Edith Piaf on while she did the housework. He told me about the layout of their little house in the Beaches, how one of his jobs was to get the coal. That music took him back more than 60 years, and it was the first of many times I was able to witness music become a point of connection between past and present in people living with dementia.

Fast forward five years, and I saw an ad for a job at Room 217 Foundation. Recalling my interview with Bev years earlier, and loving the idea of what the Foundation did, I applied. That was almost five years ago. My job at Room 217 encompasses marketing, communications, sales and philanthropy. My background as a journalist has certainly come in handy, as this job can be writing heavy at times. I write grant applications, blog posts, and have helped with the annual report and solicitation letters. I’ve taken photos and videos at Room 217 events, and have represented the Foundation at conferences and trade shows. I love getting out to meet with people who are using Room 217 products, and learning about how music is helping them change the culture of care at their setting. I’ve met some amazing caregivers and been inspired by their commitment to residents, clients and patients.

I think my skill that is most valuable to the organization is what Bev calls “a journalist’s sniff”. I will come across a story about an organization, or see a funding opportunity and be able to make connections to opportunities for Room 217. Because I love news, a favourite part of my day is getting the Google alerts and scrolling through headlines to see if there is any potential to reach out on behalf of the Foundation.

In my spare time, I’m working part-time at a BA in Communications and Critical Thinking at Trent University Durham GTA campus. It will take me another two or three years to finish, but I’m enjoying learning, especially my electives which have all been Indigenous studies courses.

I’m also the mom to three adult children - which is why I have time and money to go back to school. :) Studies have taken over much of my spare time, but in the past I was heavily involved in volunteerism with 4-H, Lindsay Wildcats OBA, the Kawartha Lakes Sport and Rec Council, and Girl Guides of Canada.

An Unlikely Friendship – Bonding through Music

Tue, 19 Nov 2019 18:05:00 GMT

This is one of a series of articles written by upper year McMaster University Health Sciences students. This week’s blog is written by Rahul Kapur.

Time and again, it has been shown through research that music is able to connect people , creating and strengthening our social bonds. Of course, we can read about this subject, and how our brains react to music to allow us to grow closer with others, but I realized that it’s hard to truly understand this phenomenon until you experience it. This realization came about when I was helping out with a thesis study, through Room 217, on the effects of music versus poetry in alleviating palliative care symptoms. I didn’t know what to expect going into this, but coming out of it, I can attest from my own experience that music really does bring people closer together.

For this study, I was initially assigned to listen to poetry with a resident at a hospice. When I first met the resident, he seemed kind and honest, but it was a little harder to open up to each other at this point because we had spent so little time together, most of which was spent listening to poetry. Eventually, after three days of listening to the poetry, he had said that the intervention wasn’t really hitting the mark for him, and we decided that we would switch over to music. Part of the protocol was being flexible to the resident’s needs and desires – since music is known to have beneficial effects in palliative care , while poetry is more uncertain, the resident was given the option to switch from poetry to music if they desired. And after doing so, it was as if a switch had clicked, and our relationship dynamic began to flourish.

In our sessions together, we began bonding over listening to songs we both enjoyed, sharing our favourite Broadway musicals, showing each other songs from our different generations. Once the session itself had completed, we would linger and chat with each other, and slowly began connecting on other levels too – sharing about our families, our upbringings, our passions. By the last day, after having listened to music from the WWII era, the song selections stimulated a heart-to-heart about our values, our beliefs, the nature of humanity, and our hopes and grievances with the state of the world right now. Listening to music together for a mere 15 minutes allowed us to become more open and friendlier with each other. By the end of the week, as we shared drinks together over our final session, I was reluctant to even leave from this unexpected friendship. And to think it all started with music.

The bond that developed with the resident can be explained, to some extent, by the effect music has on our bodies. Musical activities, whether it be playing and creating music , or even simply passively listening to music as we were, have been shown to increase levels of a hormone called oxytocin in the body. Oxytocin is released by the posterior pituitary gland of the brain, into the blood, and has a role in mediating social connection and affiliation by regulating stress and anxiety, affect, and perception of social information. The hormone also causes indirect effects that promote the development of trust with another person, increasing the person’s willingness to share their emotions. From a biochemical perspective, this could have explained how and why the resident and I were willing to engage in emotional sharing, becoming more vulnerable and open with one another.

Regardless of whether oxytocin stimulated by the music or other factors were allowing for a social connection to be formed, a connection formed nonetheless. It was so interesting to see how a person I was a complete stranger to had become the highlight of my day for an entire week. I actively looked forward to going to spend time at the hospice, listen to music, share our stories, talk about our lives and our thoughts, and just have fun with each other. It was a very fulfilling and warming experience, and I’m thankful that music was able to help me form this unlikely friendship.

Training leads to creation of music care pillar

Tue, 12 Nov 2019 17:58:00 GMT

What Maureen Flynn learned in Music Care Training affected her so greatly that she embedded music care as one of four pillars of care at Acclaim Health ’s Alzheimer’s Services Department . Every club member there has a care plan, in which music is a component.

Maureen is the supervisor for the program in the Region of Halton. She found Room 217 when she was looking for resources for the program. Her first interaction was at a Music Care Conference , where she was “reeled in” by Bev Foster’s passion and vision, and by the musicians that are always part of a Room 217 conference. “It was phenomenal to me to be in a room where everyone understands the power of music. That was empowering to me.”

After conference, Maureen signed up for the Music Care Training; she and colleague Ashlee Markle have since completed all three levels, and are Room 217 music care advocates .

Maureen supervises up to 15 people at two sites, and says 100 per cent of her staff have taken some sort of training with Room 217. Minimally, it’s been webinars and the Pathways tutorials . About 40 per cent of the staff have taken Music Care Training Levels 1 and 2 . She acknowledges that it’s expensive, between the cost and the backfilling for staff, but she makes sure she builds Music Care Training for two team members into every budget – that’s how much she values what’s taught in the course, and in turn, how it positively impacts the club members.

What Acclaim staff have learned has led to the creation of the program’s four pillars of care, which includes music as part of every member’s care plan, to bring music to them in a way that is meaningful, and personal. The team also begun paying more attention to the site’s soundscape; they no longer use music in the background – music can complement an activity, and must be approved as part of programming. The program used to play songs with lyrics at mealtimes (which Maureen describes as “chaos”) to Room 217’s instrumental-only CDs . Maureen says members were struggling to listen to the music, were trying to sing while eating, and were unable to chat over the music. She finds the Room 217 music calming; members can enjoy the music, and it’s not competing with conversation at the table.

Maureen knows that music helps club members by tapping into their memories, and “music can move people emotionally and physically” – it’s used in the day program to get people active. It’s also part of “date night” at the club. Members can come back with their spouses and eat a catered meal, served by staff members dressed as servers. The first date nights featured live entertainment and the guests focussed on the performers, not each other. Now date night features Room 217 music, which not only saves money, but shifts the focus from entertainment to the table, conversation, and dancing. Of all the work she’s done at the program, incorporating music care is what she’s most proud of.

She’s also seen staff members be rejuvenated after Music Care Training. Maureen knows her team loves what they do, but everybody in the field sometimes “gets stuck”. She’s found after taking the training, staff members have “a resurgence of passion…they are reinventing themselves.”

She is such a fan of Room 217’s Pathways singing program for memory care that she ensures it’s running whenever a tour is coming through the site. She says there’s definitely a “wow factor” when people see how engaged the members are during the program.

Through the training, Maureen has also reconnected personally with music. She studied music through high school, and played an instrument, but admits that it was the prose of lyrics, not the actual music that was meaningful to her. Now she appreciates the music, and how one’s reaction to it can be unpredictable at times. She has a heightened awareness of how music can move people emotionally. Maureen says she can “go somewhere else through music” in ways that even books no longer can.

Her husband and four children are either working as, or studying to be, engineers – they are linear and logical thinkers. She’s been able to share information about how much of the decision-making process is based on what you’re feeling, and how music can impact emotions. The family has created playlists for different parts of their days, to take advantage of music’s ability to motivate, or calm.

During the Level 3 intensive day, held at Room 217’s office in Port Perry, Maureen participated in the creation of a Music Care Training promotional video . Check out the video to see all the amazing work that is being done by Level 3 music care advocates.

Does AI have a role in music for therapy?

Tue, 05 Nov 2019 16:53:00 GMT

This is the third in our series that promotes our upcoming webinar.

Room 217 ’s November webinar presenter, Zach McMahon , will talk about artificial intelligence (AI) and how it can increase the effectiveness of music in a therapeutic setting. Zach, CEO and Co-Founder at LUCID is presenting Nov. 13 at 3:30 p.m. ET. The webinar lasts an hour, and includes time for questions.

LUCID is using machine learning and music to help people better manage anxiety and stress. Their website says they’ve developed a “wellness-focussed experiences that deliver measurable benefits in as little as 5 minutes.”

One of LUCID’s developments is the Rejuvenation Pod , that helps users reach therapeutic states by adapting to their physiological responses to music in real-time. The company also has an app. LUCID’s website says “It’s music that listens”; the music is curated and enhanced in response to your changing mood state, and has two modes – calm or focus.

The curated music and ambient nature sounds are recorded for an immersive experience. Psychoacoustic stimuli added to the audio mix, and the more you use it, the better it works. LUCID’s AI system “optimizes your music to better suit your wellness needs.”

The team at LUCID works with advisement from researchers in the fields of psychology, music cognition and vibrotactile audio, and has designed a system that “harnesses the healing power of psychoacoustics, easily accessible through your mobile device.”

Research and testing into biometric and psychometric monitoring has allowed the LUCID team to “perfect an auditory experience that is intuitive and unique to each user.” The company is in collaboration with Ryerson University and Mercy Health Group for pre-clinical trials on the technology.

A story on the Daily Hive in January says the “’dream-like experience lets your mind work in collaboration with the AI with a mere thought…because it responds to your brainwaves.”

If you want to learn more about LUCID, and what AI’s role may be in music, be sure to register for Zach’s webinar . As always, it’s free.

DYK you can access our webinars any time through our reference library ? We encourage care providers to learn about music’s role in health and wellness. Use the webinars for a staff meeting, or in-service training.

Do you attend our webinars? Is there a topic you’d like to see covered? Let us know, and we’ll work at having it presented. Email Deb at dbartlett@room217.ca with your suggestion.

Dr. Lee Bartel’s background in research and music benefits Room 217 board

Tue, 29 Oct 2019 17:02:00 GMT

This is our third installment of Meet the Board Members of Room 217. This one features Dr. Lee Bartel.

Dr. Lee Bartel calls his relationship with music “an obsession”. It’s one that has touched many part of his life – it filled his childhood as he learned to play multiple folk instruments in his Mennonite family, it was the focus of several degrees, including a PhD in music education, it was what he taught as a high school teacher and college and university professor, and what he has researched as it relates to health outcomes. It is also what led him to know Room 217 and the work of the Foundation.

He has been a supporter of music therapy since the 1970s, and publically advocated for a “music therapy approach” to music education and to church music; he feels music should be focussed on the needs in the lives of students and parishioners. Lee says, “’music as art’ only has a place to the extent that it meets the aesthetic needs of people. And, that there are more needs than the aesthetic need – there are needs of relationship, of communication, of identity, of a sense of history, of memory and association. With this conviction comes the belief that music as a means to meeting needs of people is then not restricted only to certified music therapists but that anyone can engage in aspects of meeting people’s needs with music.”

As he learned more about Room 217, he realized the Foundation’s concept of music care mirrored his own beliefs about what music can be to people, especially in aging. “As I shifted my focus from only music education and church music to music medicine I saw even more reason to employ specific music for the psychological and physiological needs of people. So as I developed my relationship with Room 217, I saw opportunities to be involved to encourage and support the development of music care in the broadest sense.”

Lee also sees his relationship with music as being something that provides him with a personal challenge of achievement. He didn’t take his first music lesson until he was in Grade 12, and was able to complete a Bachelor of Music as a violinist. He then worked on being a singer. Lee says he was on a mission to improve music education and church music through innovation, advocacy, teaching, writing and practical demonstration. “Most recently, it has been the scientific intersections of music and health, and a drive to promote and establish new ways to allow music to affect people’s well-being.”

His contribution to the Foundation has been invaluable because of his expertise as a researcher and research methodology theorist, as well as a decade working in publicity and promotion for a college, including a year as development director.

The body of his research and work is vast. Lee says, “In 1985 I began research on music response which led in the ‘90s to research on rehabilitation of attention in head-injured adolescents and in the past 20 years to music medicine research focused on cochlear implant recipients, pain conditions, neurodegenerative conditions, depression, and currently also including musculoskeletal conditions.” He also began designing and creating music in 1997 to employ brain wave entrainment to accomplish health goals related to sleep, stress, anxiety, focus etc. “In the next 20 years I created some 25 recordings through Solitudes and Somerset. In addition, between 2001 and 2011 I worked with Dr. Linda Cameron to conceptualize, design, facilitate, endorse, and write parental use suggestions for 65 children’s music recordings under the Fisher Price label. I continue designing and creating music medicine sound for Headwaters International.”

One of the goals he has for the time he will be on the board is to see music care become a recognized and accepted field of practice in the world, with Room 217 “providing leadership in the pragmatic implementation into long-term care and beyond into health care by means of Music Care Certified at an international level.”

Away from work, Lee is “happily and enthusiastically married to the outstanding and highly regarded educational leader and child advocate, Dr. Linda Cameron, who is my muse, motivating supporter, and opportunity maker.” The couple has five children and five grandchildren under 8 “who provide so many delightful opportunities to drive them around on my tractor at the farm, show them how to bake bread, make bike ramps, or decorate the tiny house to play, etc. I am a conceptual gardener creating ridiculously impractical things.” Lee lives in Florida from December to April and enjoys boating on the inter-coastal waterway, and participating in his primary hobby of cooking.

Dr. Lee Bartel is Professor Emeritus, Faculty of Music, University of Toronto, cross-appointed to Rehabilitation Sciences Institute 2014- , cross-appointed to Institute for Life Course and Aging, 2013- , Vice-Chair of the board of Room 217 Foundation, Chair of the research and program committee, Room 217 Foundation, Chair of the Scientific Advisory Board, KKT International, past Associate Dean – Research, Faculty of Music, Founding Director of Music and Health Research Collaboratory.

Could music and physics hold the key to health?

Mon, 21 Oct 2019 17:10:00 GMT

Music and physics are intertwined and inseparable. It is difficult to talk about the aesthetics and complex patterns of music without discussing the underlying mathematics that goes into creating a brilliant musical composition. It is evident that music can elicit a wide array of emotions, however, what is the underlying factor that gives music this special ability to touch us so deeply? Why doesn’t any sound create emotional pleasure, love or ecstasy? The answer is: the perfect mathematics.

Music is an arrangement of sound in precise geometrical patterns. These patterns create melodies that can stimulate the release of chemicals such as dopamine that make us feel good. Although much research has been done regarding the effect of music on human emotions, music can touch us on a much deeper dimension. Let’s look at it from a physics perspective.

The development of quantum physics, which studies the physics of the atom, has revealed that the entire universe is an amalgamation of energy and not matter. When enough energy concentrates in a particular area, it can take on a form that is tangible – a form that we can perceive. This means that even the human body is made up of energy that vibrates at a certain frequency. Theoretical physicist Dr. Michio Kaku says that, “The universe is a symphony of vibrating strings. We are nothing but melodies. We are nothing but cosmic music played out on vibrating strings and membranes”. The implications of these findings are that music can touch us in a dimension beyond emotions and can possibly reverse diseases if used properly.

Dr. David Van Koevering, a musicologist and specialist in quantum physics, created a table of elements synthesizer, which tunes the frequencies to the atomic weight vibration of the elements that compose the human body. He hopes that this new technology can reverse diseases, which are essentially caused by distorted frequencies, by ‘restoring’ the original frequency of the elements within the human body. Therefore, the mathematical and geometrical form of the sounds may be much more important in healing than the aesthetically pleasing factor of music. Although, emotions play a large role in our health and well-being, in terms of therapeutic efficiency, it may be beneficial to consider the technical precision of the frequency of music. For example, there are many people who would not enjoy classical music, however, it is evident that classical music can positively impact the human body and mind. Therefore, sometimes, it is necessary to look beyond one’s personal taste in music when delivering music as a form of therapy.

The findings of quantum physicists facilitates our understanding of what the human body is made of, and how sound can affect its functioning. Therefore, we may be able to create music that touches us beyond our emotions – to the very core of the existence and to the way the human form vibrates. Further research on this topic could reveal many more beneficial aspects of music and may aid in the development of musical tools that can be as successful as existing medical interventions in treating disease and promoting health.

This article was written by Niyathi Annamneedi, and is part of a series provided by upper year health sciences students at McMaster University.

A First Visit: You don’t always know what you’re going to get.

Thu, 10 Oct 2019 15:37:00 GMT

This is the second in a series of articles that examine the impact Music Care Training has in care settings and contexts. Watch for monthly stories from Level 3 graduates. This update is by Musician / Music Care Advocate Peter Exner of Calgary, AB.

For the last few summers my family and I have taken a break from our busy lives in Calgary and have headed south to Pincher Creek and the Crowsnest Pass. The goal is to unplug, recharge, and be ready for September. Working as a musician who delivers music programming at seniors residences I’ve often been curious to try my program on the road. As it turns out, Pincher Creek has three seniors’ homes. This summer I decided to walk in to one to see if they had a piano, and the rest is now history.

A first performance is always a challenge. Who will be attending? What levels of care do they require? How many residents plan to attend? What does the room look and sound like? With so many variables and things to consider you need a plan. Enter my Music Care framework. Levels 1, 2, and 3 not only gave me insight into preparing music for my program, but also helped me build a template for success when using music at seniors’ residences. Many classes and courses will give you examples of how to do your work (theoretically) but only the Music Care courses had me building what I would eventually deliver musically (practically).

The room I walked into was big and people were spread out everywhere. The piano was off in the back corner facing away from my audience. “This is how we normally set up the room” I heard. “Well, not today!” I said. It took a few extra minutes, but by rolling the piano to the middle of the room and arranging the chairs differently all of a sudden we had a micro community. From a music care perspective we’re now increasing the possibilities of better social engagement and we’re also reducing the potential for isolation during the program. All of this work and I haven’t even played a note yet!

At the core of my music program is storytelling. Every piece of music needs a little context to be interesting. I often begin with a few songs to warm up my fingers and then introduce the topic(s) that we will dive into. On the day I was in Pincher Creek we sang about chickens, I told them a story about my kids using piece of classical music, and I even snuck in some Elton John. Throughout the engagement I took notes on what worked and what didn’t in order to build the next program.

Whether you are performing, listening to recordings together, or viewing and discussing musical YouTube videos together setting yourself up for successful interactions is extremely important. On this day I began with ‘St Louis Blues’. Even if a few people didn’t know the song most were swinging back and forth in their chairs. After the ice was broken we were off to the races - together. Some people sang, some people clapped, and more than a few people smiled and before you know it the hour was up.

A first visit is an opportunity to introduce yourself, your story, your values, and we all know that first impressions are everything. In using a Music Care as an approach to delivering music programs you can almost always guarantee success. This doesn’t always mean that everyone will connect with every song but as you return you will bring more and more people into the fold.

Have an idea for a blog post? Share it with Deb .

October webinar focusses on Sing It Girls! program

Mon, 07 Oct 2019 16:18:00 GMT

Where did September go? I can’t believe it’s time to promote October’s webinar already. This month’s webinar will be held Wednesday, Oct. 9 from 3:30 t 4:30 p.m. ET.

The webinar presenter is Adrienne Pringle , who will be talking about Sing It Girls , a program designed to nurture girls’ love of music as it teaches them how to care for themselves. Adrienne is a Registered Psychotherapist and Music Therapist Accredited with 20 years of experience working as a therapist, music educator, lecturer, practice leader, clinical supervisor and performer. She is a past President of the Canadian Association of Music Therapists, Music Therapist at Carpenter Hospice, Psychotherapist with CHM Therapy, and Contract Academic Staff at Wilfrid Laurier University.

In the Oct. 9 webinar, Adrienne will be discussing the Sing It Girls community singing group, which is reaching girls right across Canada. Adrienne has a great PDF on her website that explains the science that went into developing Sing It Girls. It talks about some of the challenges girls face in adolescence, and that skills taught early can help avoid poor self-esteem. Sing It Girls has been designed to avoid those outcomes in a female-only group that builds social connection while teaching wellness and resilience.

Sing It Girls is a licensed program; facilitators (music therapists) are able to use the program anywhere to guide girls in building self-confidence, self-esteem and social development.

Register here for Adrienne’s webinar Oct. 9. If you want to see her in person, she and her colleague Cathy Thompson are presenting a workshop on Sing It Girls at our Music Care Conference . They are in the company of other great presenters and sessions on Friday, Nov. 8. Register here for the conference .

Why does music work in dementia care?

Mon, 30 Sep 2019 17:09:00 GMT

Room 217 Foundation has been a leader in the use of music as an important part of caregiving. Though the roots of the Foundation are music for palliative care , many of the products we’ve created are for use with older adults, including the Pathways Singing Program , designed for people with dementia. In the four years since Pathways launched at our 2015 Music Care Conference , it’s been purchased by family members, long-term care homes, retirement residences, and adult day programs, to enhance the lives of older adults through singing.

The film Alive Inside brought to the fore the power of music in helping to reach people living with dementia. The work of Dan Cohen and his work with Music and Memory has been spreading since the film’s release. I mean, who hasn’t seen the famous clip of Henry who appears to wake up when listening to his favourite music? Since then, many caregivers (professional and family) have turned to music as a cost-effective way to give person-centred, relational care.

But why does music work so well in dementia care? We’ll point you to a column in McKnight’s Senior Living that Bev wrote, in which she outlines why music is a natural choice to support people living with dementia.

Do you have your own singing and dementia story to share? We’d love to hear from you! Email Deb with some details, and maybe you and your story can be featured here.

Chelsea Mackinnon organizing 2019 Music Care Conference

Mon, 23 Sep 2019 15:20:00 GMT

This is one story in a series of posts that introduce some key players at Room 217. We’ll be introducing you to board members, supporters, and staff members, and letting you know their role at the Foundation.

Chelsea Mackinnon is always on the run – literally and figuratively. She belongs to a running club and her colleagues see her regularly completing 10-kilometre runs when she’s at the office. But she also is on the run in her capacity as a sessional instructor at McMaster University , and as Room 217 ’s Education and Research Manager. Her double role has led to a relationship with McMaster students that is enriching their university experience with practical work with Room 217. The upper year students in Chelsea’s class work on music care research projects.

A large part of Chelsea’s role is running the Music Care Partners program, which has been made possible through an Ontario Trillium Foundation Grow grant . Twenty-four long-term care homes in Toronto, Kitchener/Waterloo, and Hamilton are involved in this project to see if a team music care initiative can reduce isolation and loneliness. You can read more about Partners in Chelsea’s blog post . In addition to Partners, Chelsea oversees our education programs , which include Music Care Training , music care webinars , the content for the annual Music Care Conference , and the soon-to-be-launched Virtual Learning Studio, which in an online format will take a deeper look at issues facing healthcare professionals.

“One of Room 217’s core values is creating evidence-informed tools and programs for our end users. This is where our research program comes in! On the research side of things, my job is to oversee any investigations that we initiate here at Room 217, and to form research partnerships with others in the field who have similar research questions and goals,” she says.

The last of her responsibilities involves knowledge translation. “I work to share our research findings and information about our programs with caregivers, researchers, and others working in the field of music and health,” says Chelsea. “Room 217 is rooted in community, which means it is a priority to us to share best-practices and new research information with care communities so that the information can inform their own practice.”

Education is how Chelsea came to know Room 217 in the first place. Chelsea was a graduate student at University of Toronto when Bev was a guest lecturer. “I was so captivated by her presentation, the Room 217 story, and what Bev and the Room 217 team had already accomplished. Bev and I connected after that class, and we have stayed connected ever since!” says Chelsea.

What she likes about Room 217 is that it’s inclusive. “Room 217 is unique in that it invites everyone to see music as a care tool. Room 217 recognizes that with a little bit of information and training, anyone can use music to enhance their own lives, as well as the lives of people they care for.”

Because of the allure of music and the brain, “I get to explore this fascination every day at work, in addition to seeing first-hand the impact that music can have in different care communities,” Chelsea says.

Personally, she’s played music her whole life. Her main instrument is the piano, and she also now likes to sing.

Chelsea completed her undergraduate degree at McMaster University in the Bachelor of Health Sciences (BHSc) program, her Masters in Music and Health Sciences at the University of Toronto , and her Masters in Management, Innovations and Entrepreneurship at Queen’s University . She is also a sessional instructor at McMaster in the BHSc program, where she teaches about music and community/music and the brain.

She feels she brings positivity, organization/knowledge translation skills, new ideas, and energy to Room 217. “I try to carry these four attributes into every space I go,” she says.

In addition to all she does for Room 217, she’s also a member of Room 217’s Speakers’ Bureau . If your organization is seeking a keynote presenter, workshop content, or training days for staff, Chelsea’s expertise in music and health and passion for people deserve consideration.

Learn about music through the life span

Mon, 16 Sep 2019 18:36:00 GMT

We know people are busy, and there are limited dollars for professional development. That’s why Room 217 hold a one-day only conference and packs it with content to educate, stories to inspire, and music to entertain.

Music across the lifespan – knowing that music literacy begins in infancy and stays with us into older age and even neurodegeneration – is the focus of this year’s Music Care Conference being held Friday, Nov. 8 at McMaster Innovation Park in Hamilton. Organized this year by Room 217 ’s Education and Research Manager, Chelsea Mackinnon, the conference features two plenary presentations and a choice of two of seven workshops. Music Care Conference is a great way for caregivers to learn more about care through music via research in the field, and to meet and network with other professional, volunteer or family care providers.

Upon arrival, mingle, enjoy coffee and a snack as you listen to the Mountberry Ukulele Club. Grab a seat and settle in for a welcome and introductions, including hearing about An Instrument for Every Child , which ensures that children from Hamilton’s inner city have access to music education. Dr. Laurel Trainor ’s opening plenary is on the importance of music in early development. Dr. Trainor is a cognitive neuropsychologist who is recognized for her research on musical development in children and infants, which spans perceptual, cognitive and social aspects of pitch and rhythm.

During your coffee break, stroll through the exhibit hall and visit with our colleagues in music care. The onsite music store will have great deals on instruments and music books, as well as some great ideas for you to integrate music into your day, whether for work or personal pleasure.

After break, head back for Dr. Amy Clements-Cortes ’ plenary on intergenerational music making. Leaders and participants from three unique contexts will share stories and research, so conference delegates will learn about Intergenerational Living at Oakcrossing , IMHope , and international music therapy.

During the meal break, access the music store and exhibit hall. If you’d rather keep learning, Room 217 will be holding a Lunch and Learn on the topic of Room 217’s Music Care Training , and how this baseline training can teach care providers how to integrate music into their scopes of practice.

From 1:15 to 3:40 p.m., you will have your choice of two of seven workshops. Delegates can attend: an interactive drumming and percussion workshop with Terri Segal , and learn why drumming and music-making is a creative outlet to express feeling, release stress and have fun; a session by Dr. Elizabeth Mitchell on how research is showing the many ways that music plays a role in health and well-being, as she guides you through musical experiences that can support wellness at any stage of life; psychotherapist and neurologic music therapist Melissa Tan ’s session about music’s communicative capacities that she’s experienced in her practice with clients with autism, neuro-disability and neuro-rehab, learning disabilities, early development, and dementia; a session with music therapist Aaron Lightstone about how instrumentation, improvisation and other factors were curated to meet the needs of palliative care patients from around the world; fitness instructor Margo Glatt ’s session how to create a safe, entertaining and balanced chair exercise program for older adults; Dr. Marshall Chasin ’s workshop about hearing loss and how hearing in noise changes across the lifespan, including the implications of listening through earbuds; or for anyone working with or raising girls, Adrienne Pringle and Cathy Thompson’s presentation on Sing It Girls will show you how this program builds strong voice, nurtures self-confidence and learning skills.

After one last refreshment break, it’s time to head as a group one last time for the finale, featuring the soon-to-be announced industry musician.

Registration for Music Care Conference is open. Early bird rate of $125 for the day is in effect until Sept. 30. After that, registration goes up to $145. Our seniors (60+) and student rate is $85. Also, did you know that Room 217 offers group rates for five more people attending from an organization? Save 25% by coming with four friends or colleagues. You can access that rate by contacting Deb at 905-852-2499 or by email .

Music and Violence in Long-Term Care Homes

Mon, 09 Sep 2019 23:38:00 GMT

The occurrence of violence in long-term care homes, both resident-on-resident and towards care staff, is escalating at an alarming rate. The system is failing to provide a living and working environment that preserves the dignity, well-being, and safety of residents and care staff respectively.

The issue of violence in long-term care homes has recently been brought to media attention. On January 21, 2019, the Ontario Health Coalition released a report called Situation Critical: Planning, Access, Levels of Care and Violence in Ontario’s Long-Term Care. This report draws attention to the alarming statistics. Unfortunately, in the past five years, there have been 27 resident-on-resident homicides in Ontario long-term care homes. The root of this issue can largely be attributed to understaffing in long-term care homes across Ontario. Another key factor playing a role in these alarming statistics is the increase in the acuity of long-term care residents. Put simply, acuity is the measurement of the intensity of nursing care required by a patient. According to the Ontario Health Coalition, long-term care residents today are medically complex and frail, and therefore, require equally complex care. The understaffing, in combination with the increased acuity of long-term care patients, leaves care staff ill-equipped to properly care for all residents, especially those with severe cognitive impairments. When residents are left unattended and/or are not properly monitored, signs of agitation go unnoticed, and often manifest in violent behaviours.

So, how does music play a role in the issue of alleviating the issue of violence in Ontario long-term care homes? Music can be used as a tool to calm and relieve agitated behaviours before they manifest as violence. Moreover, it can be implemented in a way that requires minimal time and effort from care staff. For example, a study conducted by Jan Cioddaer and Ivo L. Abraham titled, Effects of Relaxing Music on Agitation During Meals Among Nursing Home Residents With Severe Cognitive Impairment, found that simply playing relaxing music during the main meal of the day helped significantly reduce agitation among residents with severe cognitive impairments. More importantly, it helped significantly reduce physically aggressive behaviours. Care staff are already stretched thin due to understaffing, however, as previously mentioned, playing prerecorded music requires minimal time and effort and could have some incredible positive implications moving forward in terms of reducing violence.

It is clear that in order to solve this horrifying healthcare issue, it is of the utmost important that policy changes are made, and fast. The Ontario Health Coalition, and various researchers such as Dr. James Brophy and Dr. Margaret Keith have done an amazing job bringing this issue to the forefront. But how long will it be until we see tangible changes? Aligning with the goals of Room 217, it is critical that music is seen as a primary approach to care. Music is something that can be implemented almost immediately, and by almost anyone in the long-term care setting. Moreover, it can be implemented in a way that requires minimal effort. Optimistically, music, in combination with policy changes, will be used to decrease violent behaviours in long-term care homes in order to provide a living and working environment that preserves the dignity, well-being, and safety of residents and care staff respectively.

This article was written by Mara Medeiros, and is part of a series provided by upper year health sciences students at McMaster University.

Webinar series kicks off With Music for Journeying Home with Rosella Kinoshameg

Mon, 02 Sep 2019 18:04:00 GMT

One of the goals of Room 217 is to educate and train caregivers to integrate music into regular practice. We do that in a number of ways – webinars , the annual Music Care Conference , Music Care Training , as well as our newest education programs, Music Care Skills Day (one for hospice palliative care workers, and one for recreation therapists) and the Virtual Learning Studio (more to come on this in an upcoming post).

When I do visits with current and potential customers of Room 217, people are usually unaware of the webinars. Room 217 runs them monthly September through June, on the second Wednesday of the month from 3:30 to 4:30 p.m., Eastern Time. They are archived, and best of all – they’re free! This means that if you can’t login at work, you can access the webinar later, from home. I also tell managers in care settings to be sure to remember our amazing webinar archive when they are looking for topics for staff meetings, or professional development for their team.

The webinar presenters are experts, either through academia, their profession, or lived experience. The presentations are 45 minutes in length, with 10 minutes available for questions and answers at the end.

When selecting presenters, we aim to reflect music’s use in a wide range of topics and care settings. For the past several years, we have also ensured that at least one has an Indigenous focus. I am also really excited that the learning outcomes of several of this year’s webinars have been submitted by British Columbia Therapeutic Recreation Association ( BCTRA ) for continuing education credits. That means that if you’re a member of that group, you can get an hour of CEUs that are required for recertification.

Webinars are archived in Room 217’s reference library , and can be searched via topics.

The upcoming series kicks off with a presentation by Rosella Kinoshameg, on the topic of Music for Journeying Home: an Indigenous View of Music and Dying. Rosella is Odawa/Ojibway from the Wikwemikong Unceded First Nation Territory. She is a Registered Nurse (1968) with B.Sc.N. (1977) and Honorary Doctorate in Sacred Letters (1996), with extensive experience in palliative care. Rosella chaired the Canadian Hospice Palliative Care Association ( CHPCA ) Aboriginal Interest Group, was a Board member for Nipissing Serenity Hospice in North Bay, worked on Palliative Care Policies for Wikwemikong, served as lay panel member on Palliative Care Matters , was recently a panel member for Registered Nurses’ Association of Ontario ( RNAO ) on End of Life Best Practice Guideline , and is a supportive Strategic Plan Steering Committee member of Health Sciences North .

Learning outcomes for Rosella’s webinar include being able to identify two traditional Indigenous teachings that will lead to building of trust and feeling cultural safety, to identify the two greatest gifts and tools for supporting preparation of journey to the Spirit world, and to identify three common traditional music instruments and their benefits in supporting this journey. You can register for Rosella’s webinar here .

Room 217 co-founder Rob Foster loves seeing music used in care

Mon, 26 Aug 2019 13:59:00 GMT

This is our second installment of Meet the Board Members of Room 217. This one features Rob Foster.

Rob Foster is not only a board member of the Room 217 Foundation, he is also a co-founder of the organization, along with his wife, Bev. He has been involved with the foundation from the beginning; it’s been 10 years now since they formed the social entrepreneurship that is Room 217.

He’s involved because “I have benefitted from music all my life, and have seen the positive effects on children, seniors and people suffering from illnesses.”

Rob is also a family caregiver, who has seen first-hand how music care has impacted his mother. He thinks that personal experience is an attribute that he brings to the organization.

Personally, Rob plays, composes, sings and appreciates difference styles of music. As an educator, he “loves to see music in conjunction with meaningful activities used for care.”

As a board member, Rob wants to keep making a contribution to shaping the foundation’s goals and programming. He thinks his appreciation of different genres of music, as well as his assistance in French translation are beneficial to the work he does for the Room 217 Foundation.

Rob says he hopes to live as long and “continue to be as excited about life as my 93-year-old dad.”

Room 217 grad brings music care initiative to Ottawa

Mon, 12 Aug 2019 14:22:00 GMT

One of Room 217’s Level 3 Music Care Training graduates has committed to a year’s worth of fundraising to bring music care into the lives of residents of Extendicare Starwood.

Emily lives in Ottawa, and is working with Cindy McNabb the resident program manager of the Extendicare home in Nepean to present a day-long session to staff, volunteers and residents’ family members about music care, and how music can make a difference in the lives of residents, particularly those living with dementia, or requiring palliative care.

The project has been in the works for about six months, and Emily has been getting partners in place for the initiative. She has been generating awareness about the project, and investigating fundraising options to pay the costs of bringing a Room 217 instructor to Ottawa for the day.

To that end, has established a Go-Fund-Me campaign and has planned a series of live performances at Ottawa’s outdoor markets, all launching in September. Emily and Cindy are planning for the music care instruction to take place in the fall of 2020.

Even though creating and launching a music care initiative is part of Room 217’s Music Care Training, Emily says the idea for the program at Extendicare Starwood is something she “never would have dreamt of back then.”

It’s also something Cindy was eager to get on board with. “Our residents are changing, and we need to change with them – our approaches, our methods of care,” says Cindy. “Music can be a helping and healing tool, and reaches people in many more ways than pure entertainment. Starwood is excited and honored to a part of this initiative.”

Emily knowns that music can bring so much to whole-person care. Through her music care training, Emily learned about how music, and singing in particular, is a neurologically beneficial activity for people living with dementia. “I learned how music has the power to connect a person with dementia to their environment, other, and most importantly, back to themselves,” she says. And that the use of music in palliative care settings can assist in a number of ways, including distraction from pain and encouraging slow and regular respiration, in addition to filling space.

Emily is the program facilitator at the Glebe Centre Long Term Care Centre, and she has worked 1:1 with a man who had dementia, helping his wife in supporting him. This is where Emily “gained the experience in which I could have the most impact since the ‘community’ was so small; as one person I could have an immense impact on the culture of care.”

“It was so clear to me that when you weave music into daily activities…it enhances the experience for that person with dementia and their caregivers,” she says. Emily says once she began intentionally integr4ating music into care there was “an explosion of ease” in supporting him in activities of daily living. For example, rather than waking him up with lights, touch and speech, Emily would walk into his room singing, “Oh what a beautiful morning…” and he would wake up daily finishing the song with her, and trying to get out of bed. “Music oriented him to his day,” she says; that experience solidified the importance of integrating music into care. She wants the staff at Extendicare Starwood to be empowered to use music, too.

The majority of Emily’s Music Care Training were based on her studies at University of Waterloo, and her internship at Ontario Shores for Mental Health Sciences, and her work as at recreation therapist assistant at Lakeridge Health Whitby on the complex continuing care floor.

Emily is looking for several people to help her bring this Music Care Ottawa initiative to life. In particular, she’d love other musicians to volunteer to perform with her at the fundraising concerts. Anyone interested in donating time or money to the initiative can contact Emily by email at musiccareottawa@gmail.com .

Music as a tool against substance abuse crisis

Mon, 12 Aug 2019 14:22:00 GMT

Canada is in the throes of an urgent public health crisis involving substance use , touching as many as one in five people across the nation , and music may be the unsung hero to this epidemic.

To begin, these substances, such as alcohol, drugs, or other chemicals, are referred to as ‘psychoactive’ substances because they alter the way the body or the mind functions. People use substances, such as alcohol or drugs, for many different reasons, including wanting to wind down and relax, for having fun, to experiment, or to cope with stressors in their life. Substance use becomes problematic or a “ substance use disorder (SUD )” when continued use of these substances start to interfere negatively with one’s everyday life, regular relationships, and general well-being. This problematic use of substances is associated with a variety of health, social, and economic disadvantages for the user.

It should be stressed that substance use disorder is not a character flaw or a sign of weakness. This disorder requires continuous support and treatment and cannot be overcome with sheer willpower. This is because substance abuse can create powerful changes in the brain that convince the user that becoming sober is impossible. Treatment programs for patients with SUD include body detoxification, pharmaceutical options, psychosocial treatment, and recovery management. Still, only as few as an estimated 10 per cent of those with SUD receive professional help , whereby the treatment completion rates remain low (47 per cent in the U.S.A. in 2006) and the relapse rates are high (40–60 per cent). In this way, there is a dire need for improvements in substance abuse treatment. The use of music, either through music therapy or musical-based interventions, represents an alternative avenue to mainstream care that may be able to better support those dealing with SUD.

The growing relationship between music and substance abuse treatment is both fascinating and promising. Emerging evidence suggests that music can provide a broad range of benefits for people dealing with SUDs, ranging from neurobiological to psychosocial benefits. On the neurobiological level, music may be stimulating neural systems relating to reward and emotions that are very similar to those pathways that are activated by substance abuse. By accessing these similar pathways, music may be able to promote more positive mood states, which is associated with beneficial effects on sleep and treatment completion. At the same time, by promoting positive mood states, music may be able to ‘prevent’ or buffer against the risk of relapse which is often associated with more negative mood states.

Even more, pleasurable music may be able to promote the release of a dopamine , a chemical messenger that carries signals between brain cells. Dopamine is important because it can positively affect the reward system, which is believed to be dysregulated in those with SUDs. At the same time, dopamine can inhibit activity in areas of the limbic system, a region of the brain involved in behavioural and emotional responses, to inhibit transmission of pain perception. This is important because pain is often a strong withdrawal symptom for some people who are recovering from substance abuse. Withdrawal symptoms are physical or physiological symptoms that occur upon abrupt discontinuation or decrease in intake of the substance, and for some people, they can be so serious that it hinders their recovery process. Therefore, the intentional use of music being able to challenge these withdrawal symptoms is very significant.

Finally, on a psychosocial note, music may help increase motivation to actively engage in treatment for people with SUDs. Lack of motivation is a driving issue in the low completion rates of treatment, and music appears to address this by empowering users to navigate and explore their feelings in a non-threatening way. Even more, music may be helpful in reducing social isolation in group music therapy sessions, which ultimately helps promote positive social and problem-solving skills. This is significant because many people with SUD have poor psychosocial skills, which music appears to increase over the course of musical-based interventions. Finally, through music, people can discuss lyrics of songs that are meaningful and relevant to their experience with substance use. Being able to safely explore their dynamics with the substance is thought to contribute to the development of more healthy coping strategies.

Overall, it appears that music holds a lot of potential in addressing the various complexities underlying substance abuse. A holistic tool, it seems that music allows people with SUD to explore and unpack their lived experiences in a productive and healthy setting, all the while facilitating neurobiological changes in the background that contribute to overall wellness. Unfortunately, many folks with SUD remain a disenfranchised community within the greater population, and thus more efforts into developing holistic and human care through music are needed.

This article was written by Mahrukh Aziz, and is part of a series provided by upper year health sciences students at McMaster University.

Room 217 has an extensive collection of articles and webinars about music and health in its reference library . If you want to learn how to incorporate music into your care practice, visit our Music Care Training page. We also have resources for use in a number of care settings.

Relationship with Mohawk College spawns Skills Training Day for rec staff

Thu, 08 Aug 2019 04:00:00 GMT

We at Room 217 are privileged to be able to network with a diverse group of healthcare workers and volunteers who provide care in an array of care settings. In order to better serve such a varied group of clinical workers, we have created two Music Care Skills Day programs that will serve as a focussed introduction to music care for staff and volunteers in recreation therapy, and in hospice palliative care.

We have an amazing relationship with Mohawk College in Hamilton, ON to thank for this. They have provided exclusive Music Care Training to their students in the accelerated rec therapy program, but wanted something more hands-on for programming purposes. The response to that was the development of Music Care Skills Day for rec therapists .

It was piloted in March by our education and research manager, Chelsea Mackinnon, who wrote the curriculum for the program. The result is a day full of practical music care skills development grounded in the existing care practice of a recreation therapist.

Its emphasis is on experiential components, and it’s designed to give participants new ideas about how to add music to their recreation practices. Participants will gain confidence in using music in programming, learn to play the ukulele, learn how to run a bell choir and improve singing skills. Equipping rec staff or rec therapy students with Music Care Skills Training is a great way to differentiate your organization or institution from your competition. For students in particular, it’s a great addition to their resumes.

The cost of Music Care Skills Day for rec therapists is $2,500 (plus related expenses). As Room 217 launches the training – and as we’re all getting ready for back-to-school – we’re offering this training for $1,999 (plus expenses) for the month of August only. This will be for up to 24 people, and training purchased at this price can be completed any time until the end of December 2019 [CM1] .

Feedback on the pilot from Mohawk students included: enjoyed how accessible learning ukulele was; instilled more confidence in my musical ability; made music approachable, accessible; lots of resources; good music stuff/techniques to do with clients; super practical.

To book Music Care Skills Day for rec therapists for your staff or students, contact Deb Bartlett at dbartlett@room217.ca or call the office at 905-852-2499 or toll-free at 1-844-985-0217.

Watch this space for information on Music Care Skills Day for hospice palliative care.

Hamilton conference focuses on music across the lifespan

Tue, 06 Aug 2019 13:49:00 GMT

The focus of this year’s Music Care Conference is Music Across the Lifespan , with an array of presenters who will address the value of music from infancy to older adulthood, and everything in between. Room 217 ’s Education and Research Manager, Chelsea Mackinnon , has put together a full day of programming that will educate and inspire professional healthcare providers, family caregivers and others on not only the importance of music to people in various stages of life, but also how to bring music into caregiving settings.

Dr. Laurel Trainor , cognitive neuropsychologist, provides the opening plenary, The Importance of Music in Early Development. She will provide an overview of the research evidence, and describe the implications of early musical experience on social, cognitive and communicative development. The day’s second plenary session will be provided by music therapist Dr. Amy Clements-Cortes , on intergenerational music making. The session will feature three contexts in which intergeneration music making is having positive effects.

After lunch, delegates will have their choice of two of seven workshops. Choices include Intergenerational Drumming with Terri Segal , Music as a Coping Strategy Across the Lifespan with Dr. Elizabeth Mitchell , Communication Through Music with Melissa Tan , Ethnic Diversity in Music for Palliative Care with Aaron Lightstone , Using Music to Supercharge Your Older Adult Exercise Program with Margot Glatt , Hearing Through the Lifespan with Dr. Marshall Chasin , and Sing It Girls with Adrienne Pringle and Cathy Thompson .

As always the day wraps up with in inspiring presentation and performance by an industry musician (yet to be announced).

Woven between presentations are inspiring music care cameos, which will introduce the audience to programs and activities unique to the Hamilton area. Once again, Long and McQuade will be the on-site music store of Music Care Conference, so come ready to stock up.

Registration includes meals and refreshments, and a certificate of attendance can be issued, if required for continuing education purposes.

This year’s Music Care Conference takes place Friday, Nov. 8 at McMaster Innovation Park in Hamilton. Early bird registration ends Sept. 30, and as always we have a discounted rate for students and seniors. Room 217 also offers a group rate for five or more delegates from the same organization; contact Deb for more details.

Deb Bartlett is the resource lead for Room 217 Foundation. She’s always looking for music care stories to blog about in this space. If you’d like to share your story, contact her at 905-852-2499 or by email .

Music program affects residents with dementia in care home

Mon, 29 Jul 2019 15:04:00 GMT

This article was written by Adriana Fedorowycz, and is part of a series provided by upper year health sciences students at McMaster University.

As a result of North America’s increasing aging population, dementia is becoming more common, and is prevalent in the long-term care system. Studies from the U.S. show that residents of long-term care homes experience symptoms of dementia at three times the rate of the senior population outside of the long term care system, and, in the average long term care home, about 50% of residents have dementia. Because there are risks associated with using medications like antipsychotics to treat symptoms of dementia, it is important that studies are done on the effectiveness of treatments that aren’t drug-based.

A study conducted by Thomas et al. found that the use of a program for personalized music in long term care homes was linked to positive effects for residents living with dementia. In particular, it was associated with a decrease in the use of antipsychotic and anti-anxiety medications, as well as fewer behavioural problems among residents.

The “MUSIC & MEMORY” program was created in 2006 to help reduce the symptoms of dementia for long-term care home residents. Through this program, caregivers provide music playlists for the residents that are specific to their personal histories and musical tastes. In order to implement this program in a long-term care home, a minimum of one staff member must undergo training through three 90-minute webinars hosted by MUSIC & MEMORY, Inc. These webinars cover the benefits of personalized music, the legal boundaries of music sharing, how to create personalized music playlists, and how to introduce and expand the program over time. Further support is offered by MUSIC & MEMORY, Inc., in the form of online resources and one-on-one consultation. The 2014 documentary Alive Inside showed how this program encouraged residents to sing and dance along to music; however, the full extent of how it affected the participants’ health was not yet well known.

The Thomas et al. study compared 98 nursing homes that used the MUSIC & MEMORY program between 2012 (the year before the program was used) and 2013 (the year the program was used) with 98 nursing homes that didn’t use the program between 2012 and 2013. About 13,000 residents living with dementia participated in each group.

The study looked at the effect this program had on the use of anti-anxiety and antipsychotic medications, behavioural problems, and resident mood.

Findings showed that, while the use of antipsychotic medication stayed the same for long-term care homes that did not use the MUSIC & MEMORY program, the homes that were involved with the program saw an increase in the number of residents that stopped using antipsychotic medication after the program’s implementation. Specifically, the proportion of residents who stopped taking this form of medication increased from 17.6 per cent in 2012 to 20.1 per cent in 2013.

Similar results were found when researchers looked at the use of anti-anxiety medications from 2012 to 2013. In the long-term care homes involved with the program, the number of residents who stopped taking anti-anxiety medication increased slightly after the program’s implementation (from 23.5 per cent to 24.4 per cent), while the number of residents who stopped taking anti-anxiety medication decreased during that same time in homes that did not use the program (from 24.8 per cent to 20.0 per cent).

Additionally, for homes that were involved with the program, the amount of residents whose behaviour showed improvement increased after the program was implemented (from 50.9 per cent in 2012 to 56.5 per cent in 2013), while the amount of residents whose behaviour improved did not change for homes that were not involved with the program.

However, no significant difference in mood was found between residents of long-term care homes that were involved with the program and the residents of homes that were not involved with the program.

Overall, the use of this personalized music program was found to be connected with fewer residents taking antipsychotic and anti-anxiety medications, as well as a decrease in behavioural problems. This provides some evidence that music-based programs like the MUSIC & MEMORY program could be a practical way to lessen the symptoms of dementia for long term-care residents without relying on the use of drugs.

Room 217 has an extensive collection of articles and webinars about music and health in its reference library . If you want to learn how to incorporate music into your care practice, visit our Music Care Training page. We also have resources for use in a number of care settings.

Foundation’s incoming chair hopes to enhance board’s expertise

Mon, 22 Jul 2019 14:37:00 GMT

Room 217 Foundation’s incoming board chair, Sonia Brown , is hoping that her background in human resources will help the foundation’s plan to “scale and shape itself for the future”. She also wants to ensure that “our Board fully leverages the rich knowledge of all our Directors”, while helping to attract new directors who will bring diverse skills and backgrounds, “to enhance our breadth of knowledge and expertise.”

Sonia has held progressive leadership positions in several industries, most recently in healthcare. “I most enjoy developing teams and leaders through effective coaching and facilitation, and building high performance, engaging cultures,” she says. Sonia believes this type of experience and background is beneficial to Boards and organizations, especially those that are growing and looking to evolve.

Sonia joined the board two years ago, although she was no stranger to Room 217. She learned about the organization in its early days, via family connections. She attended an event and learned “of the terrific work that was happening at Room 217.”

She was amazed by the fact that Room 217’s resources were research -informed, that the CDs were designed for palliative care , and were paced to be synchronized with a resting heart. She bought them as gifts, and when the CDs proved to benefit the people she gave them to, her interest in Room 217 was sparked.

As she learned more about the Foundation, her interest grew. She was moved to join the board two years ago, after being made aware of the expanding work of Room 217, and the impact it was having.

Sonia’s childhood was full of music; it was an important part of the school, church and camp she attended, but through adulthood she was less involved. “In the last few years, I started to feel drawn back to music and joined a choir and started to sing at several events. Now, I realize that I was really missing something in my life and I am often surprised at the level of joy and meaning that music and singing has brought into my life; music really is a powerful and wonderful force,” she says.

Sonia believes it’s important to find ways to share your gifts and give back to others in our communities and in the world. She is president of the George Lunan Foundation and is executive sponsor for Operation Smile for her company’s annual campaign. She has also been on numerous medical and dental missions in Central America and Haiti with a Canadian-based relief organization.

Room 217 grad brings music care initiative to Ottawa

dhageman@innovasium.com (Daniel Hageman) — Mon, 22 Jul 2019 14:22:00 GMT

One of Room 217’s Level 3 Music Care Training graduates has committed to a year’s worth of fundraising to bring music care into the lives of residents of Extendicare Starwood.

Music use expanded in rec, palliative care at Salvation Army Eventide Home

Mon, 15 Jul 2019 14:31:00 GMT

This is the first in a series of articles that examine the impact Music Care Training has in care settings and contexts. Watch for monthly stories from Level 3 graduates. This update from an October 2017 blog post was submitted by Major Renee Clarke (director of spiritual care), Aurika Bennett (recreation manager) and Wendy Kidd (recreation therapist). They are Level 3 graduates of Room 217’s Music Care Training, at work at Salvation Army Eventide Home in Niagara Falls, ON.

Since the completion of the course and the implementation of the music care initiative within our facility, we continue to provide music on a very personal level. We have created several different music care programs to target the various needs and abilities of our residents.

Every Friday afternoon, Wendy offers the Music Care Italian Club. She intentionally reaches out to our Italian residents, and has their playlists ready to go. The residents’ families have joined in on this program and will often attend with their loved one. The family members have such a great time that they leave feeling like that had a little piece of Italy. It has been become a journey for Wendy personally also, as the residents have taken it upon themselves to teach Wendy a little Italian. So for the past six months, at the end of each program, the residents teach Wendy one Italian word, and Wendy has to repeat the learned words weekly to them. At the close of the program, Wendy ends by saying “tutti fuori”, which translates to, “everybody out”. Wendy has built such an intimate relationship with these residents that they anticipate the program weekly and wait for the “tutti fuori” before anyone leaves.

The other program offered weekly on Friday afternoon, is Music Care Mobile. Wendy’s role is to take the residents’ personal playlists and go floor to floor and room to room, to the residents who are unable to attend the program physically for whatever reason. While Wendy is mobile with music care, something interesting happens. Other residents will hear what is going on and join in or inquire about what is going on. She brings the music to them.

Wednesday, Wendy offers Music Care Men’s Group. It is a guy thing, no ladies allowed; men can be men and listen to their music. The playlist consists of car themes, old country, truck driving songs, etc. Wendy is very pleasantly surprised at how engaging the men can be and actually sing along to many of the songs being shared. This leads to memories being shared very openly and the fellas, they become vulnerable and deeply touched.

Other music care programs offered weekly are Music Care 1-1, 1-1-2 (a family member can join their loved in Rm 217, or bring one of their peers, friends from the facility), music care small group targets our cognitive and behavioural residents (the Room 217 Pathways singing program is the tool utilized in this program). Our final program is the music care large group, which is open to all residents of all abilities, providing them the opportunity to be together, and to share music, memories, song, conversation and laughter.

Major Renee continues to provide individual playlists for our residents at their end of life. During end of life, silence can be very “loud” as families and friends journey with their loved one to the end. By using music from the residents’ personal playlists, it breaks the silence and assists with the journey. Once the journey of life is ended, Major has implemented a code purple for the resident and family leaving the facility for the last time. Staff, residents and guests will gather as an honor guard at the front entrance and the resident is escorted out, again to their personal music.

In closing, we feel we have definitely enhanced the quality of life for our residents, family and staff through this course. We continue to learn and grow in ways to reach our residents on a personal level. If music is used not just as entertainment, a great difference can be experienced and shared.

Music use expanded in rec, palliative care at Salvation Army Eventide Home

dhageman@innovasium.com (Daniel Hageman) — Mon, 15 Jul 2019 14:31:00 GMT

Music can help reduce delirium in older adults after surgery

Mon, 08 Jul 2019 14:33:00 GMT

This article was written by Lauren Winemaker, and is part of a series provided by upper year health sciences students at McMaster University.

Last fall, my grandfather was experiencing severe chest pains. He was diagnosed with angina, meaning that the arteries supplying his heart with blood were clogged. As a result, he had to undergo bypass surgery in order to improve blood flow to his heart.

After his surgery I went to go visit him at the hospital and he seemed to be recovering well. However, he had to stay in the Intensive Care Unit (ICU) longer than usual, as he had issues regulating his heart rate. After a few days, my family and I noticed that he was beginning to act quite strange. He was constantly sleeping and always forgetting where he was. The doctors told us that he could be experiencing delirium, which is extremely common in older adults who have been hospitalized.

Delirium is a disturbance in mental abilities, which can occur when there is an impairment to neurotransmitters, which send and receive signals in the brain. One of the major ways this occurs is through the neurotransmitter acetylcholine. Acetylcholine plays a major role in one’s ability to learn and remember. Delirium occurs when levels of acetylcholine plummet. Additionally, older adults produce less acetylcholine to begin with, making them more susceptible to delirium. This deficiency can be caused by a number of factors that create stress in the brain, including a medical condition (stroke, heart attack), an infection, or even undergoing surgery. My grandfather’s doctor explained to us that this condition is often seen in patients in the ICU after surgery.

Delirium has the potential to create additional health complications, which is why prevention of this condition is extremely important. Many physicians administer medications to prevent delirium; however, this is risky as delirium can actually be caused by adverse reactions to medications. In fact, many scientific studies reveal that prevention methods, without the use of medication, are much more productive. Interestingly, the use of music in these setting has proven to be extremely effective.

When patients come out of surgery, the environment is often unfamiliar and unsettling. They are surrounded by nurses, and often hooked up to monitors. This can cause patients to become stressed and anxious in their environment, which can ultimately lead to delirium. This is why it is important to present patients with relaxing stimuli, like music. Music has been proven to regulate stress and emotions through soothing compositions including a slow tempo, low pitch, and repetitive rhythms. This has been seen to decrease heart rate and rate of breathing. Music has also been shown to decrease levels of cortisol, one of the main stress hormones in the body.

Furthermore, music can be useful in bringing up positive memories in a patient’s post-surgery recovery. In the brain, the amygdala is responsible for storing deep memories. It also serves to associates music with these memories. Listening to customized playlists composed of a patient’s favorite songs can familiarize patients with their surroundings through strengthening their connection to their deepest memories.

For these reasons, music has proven to be a beneficial alternative to medications, and is extremely effective in preventing delirium.

Information and Inspiration at Music Care Conferences

Wed, 03 Jul 2019 18:18:00 GMT

I still remember the first Music Care Conference I attended. I was a graduate student at the University of Toronto, and my supervisor, Dr. Michael Thaut, suggested it would be a valuable day of learning for our Music and Health Sciences cohort. I remember being pleasantly surprised at the very reasonable student discount for the conference, and the ease of the registration process. I remember being blown away at the information that was shared, and the inspiration I felt while surrounded by folks who were equally passionate about doing music in healthcare settings as I was. I remember how accessible and practical the research was – family and formal caregivers, as well as graduate students like me, could all learn the latest and greatest about music in healthcare.

Fast forward four years, here I am, intimately involved in the planning of our upcoming Music Care Conference hosted at the McMaster Innovation Park in Hamilton, ON. This is exciting for me for a couple of reasons. First, we are working alongside the McMaster Institute of Music and the Mind , and the Ontario Music Therapy Academy to bring the conference theme Music Across the Lifespan to fruition. Second, this is the first Music Care Conference hosted in Hamilton, a city whose arts and health scenes are equally booming.

Music has many applications, from brain development in infancy, to pain management in palliative care, and virtually all life stages in between. Whether your focus is on childhood development, elder care, or another life stage, the plenary sessions and workshop choices will ensure that your conference experience is tailored to your specific care practice.

I am particularly excited about one of our plenary sessions this year on intergenerational music making. We will be exploring three different ways that intergenerational music making is implemented in Canadian healthcare contexts. We will discuss the operationalization of these programs, how to measure outcomes, and practical tips for implementing intergenerational music in healthcare and community settings. Intergenerational music making has been a part of many cultures around the world for centuries, and it has gained renewed traction as a research topic in North America over the past decade. Part of what makes intergenerational music making so interesting is the many different ways it can be implemented – in other words, there is no one-size-fits-all program for doing music across the generations. We will hear first-hand from participants and researchers about the nuances of three different intergenerational music experiences.

Over the years, I’ve reflected on what makes the Music Care Conference stand out from all of the other conferences I attend each year. I think I’ve finally pinpointed it – Music Care Conferences are approached by the Room 217 team with the same level of detail and care as any other musical production would be – significant time and energy goes into ensuring that the day is cohesive, inspirational, and informative. When you bring together educators and musicians to plan a conference, something magical happens. I hope to see you there – this conference is not one to miss!

Registration for Music Care Conference is now open, with early bird pricing in effect until Sept. 30. If you’re a senior or student, you save, too.

Chelsea Mackinnon is Room 217’s Education and Research Manager, and is organizing this year’s Music Care Conference.

Effects of Music on Anxiety in Heart Attack Patients

Wed, 19 Jun 2019 18:44:00 GMT

Music is powerful. The knowledge that music has healing properties and can change moods is not new. Historically, even for thousands of years, music has been found to reduce negative emotions such as fear, anger, and worry, as well as have healing power. Unfortunately, even though there is evidence that music has healing effects, general hospitals do not often use music to help their patients. However, research into music’s beneficial effects is continually growing, and more evidence is being collected. For example, an American study looking at the effects of music on anxiety in heart attack (medically known as myocardial infarction) patients found that music does have a relaxing effect on these patients. [ https://journals.lww.com/ccnq/citation/1990/09000/effects_of_relaxing_music_on_state_anxiety_in.9.aspx ]

The reason this study was conducted is because there is an increasing demand for caregiving creativity, especially to address patients with anxiety. Thus, using music as the creative component, this study aimed to investigate its beneficial effects on patients with anxiety.

Anxiety is a term you may have heard before. The study states that anxiety occurs when a person has feelings of tension, apprehension, nervousness, and worry, and it develops as a response to stress. Stress forms as a result of when a person recognizes a situation, whether it is from their external (i.e. physical) or internal (i.e. psychological) environment, as a danger. This means that when someone believes that a situation is threatening to them, their stress levels increase, leading to their anxiety levels increasing as well.

The researchers specifically looked into heart attack patients because they have been found to experience anxiety when they are hospitalized. Visiting regulations, interrupted sleep, and noises that occur in a hospital unit, all of which are a part of being hospitalized, are some of the factors that may lead to anxiety. The patients’ minds perceive these occurrences in the hospital environment as a threat, leading to the increased stress and anxiety levels. As for the results of the study, it was found that when the anxiety levels of the heart attack patients before and after the study were compared, the researchers found that soft, repetitive music seemed to reduce anxiety. Interestingly, patients who participated in the study reported that they felt a sense of relaxation due to the music, and that they felt less tense. Furthermore, it was determined that when compared to the group that did not listen to music, the anxiety levels of the group members that did listen to music were significantly lower.

In conclusion, from the findings of this study, it is suggested that the caregivers in these situations (i.e. nurses) should integrate the controlled use of music in their caregiving to reduce anxiety levels of such patients. This would create a more patient-centred approach to caregiving, as the music’s controlled use can be individualized by the nurses to their patients. It has been proven time after time that music does, in fact, have healing properties, and should be used in care settings to help patients with their stress and anxiety levels. The study concludes by stating that more research should be done to look at the beneficial effects of music on heart attack patients. For example, improving upon the results of the study by giving patients a choice of music.

Rachel Lee is a 4 ^th year Bachelor of Health Sciences student at McMaster University. She wrote this blog while completing HTH SCI 3H03 at the Room 217 Foundation.

Room 217 grad brings music care initiative to Ottawa

dhageman@innovasium.com (Daniel Hageman) — Wed, 19 Jun 2019 04:00:00 GMT

One of Room 217’s Level 3 Music Care Training graduates has committed to a year’s worth of fundraising to bring music care into the lives of residents of Extendicare Starwood.

Room 217 celebrates its 10th birthday!

Wed, 05 Jun 2019 15:49:00 GMT

A small social enterprise with a big footprint. Ten years into the story, a variety of stakeholders came together to look back, stand back, and be moved by personal stories and a growing network of collaboration. It was the 10 ^th anniversary celebration at the Room 217 Foundation headquarters in Port Perry on May 30, 2019 .

Over dessert and coffee, at an event emceed by Board Chair Barbara Reynolds, we heard story after story. Rick Firth, CEO of Hospice Palliative Care Ontario and Past President of the Canadian Hospice Palliative Care Association spoke of a decade of very warm relations between 217 and palliative care. Beautiful graphic design work on all products by Paul Huntington has accentuated 217’s appeal over the decade. He referred to the power of R217 music in his own experience of being with his mom as she was dying. Rooom 217 Education and Research Manager Chelsea Mackinnon spoke of the importance of providing evidence-based support by evaluating the effects of music on isolation and loneliness in long-term care settings through the Partners project. In addition, her students at McMaster University have done a total of 2,700 hours of research work in support of the Foundation. Dr. Lee Bartel, a Director of Room 217, just returned from an international health and wellness symposium in Portugal , where he presented the 217 framework for music care. He shared where music care fits into the growing sector of music and health. One of his colleagues suggested that music care is “the missing piece.”

A video of testimonials painted the picture in vivid colours: caregivers spoke of the effects of Room 217 music products, programs and services for them and their loved ones. Professionals in long- term care observed different emotions being touched, people with dementia interacting and coming alive socially while the interactive Pathways program was runnning. Music Care Conference participants related the power of coming together as a diverse community of music care folks and being propelled into new applications of music with special needs clients, school children, etc. A resident in long-term care involved in a music-making session using hand bells spoke energetically of making “my own story” in the bell choir. A recreational therapist marvelled that colleagues of hers who had no confidence in music-making responded to the Room 217 training and as a group created a song, then performed it for the residents and observed how the “words came back” in the songs!

Bev and I, Room 217 co-founders, spoke too. I shared how the resources of Room 217 have given me the tools and the confidence to sing with my mom who has late stage Alzheimers. Bev Foster invited all of us to imagine music care being available in homes, and in patient care plans.

We were honoured to hear the creative genius, sensitive lyrics and seasoned musical talent of Murray McLauchlan, Room 217 board member, who performed the world premiere of a song written for the occasion along with bassist Victor Bateman. Some of the lyrics:

“Without a song, where would I be? …. A song can find the words … bring back the memory that was lost to me … I will find a way to live, to give. I’ll give all my love to you.” ©2019, Murray McLauchlan

Founding chair Patty Bowman spoke a rich and affirming blessing on each stakeholder. It was an evening of taking stock, gratitude and sense of shared vision for what is possible in the future of Room 217’s unique contribution to wellness in the world.

Rob Foster is one of the co-founders of Room 217 Foundation.

McMaster students complete music care research projects

Tue, 16 Apr 2019 13:46:00 GMT

Staff of Room 217 recently enjoyed an inspiring day with 14 McMaster University students, when they presented their projects as part of a research team in the scope of music and healthcare. The conduit for this presentation is Chelsea Mackinnon, a sessional instructor at McMaster who is also Room 217’s education and research manager.

The third- and fourth-year students worked on six projects, all of which focussed on analyzing data for Room 217 programs. They were thesis projects for three of the 14 students. Chelsea says the students gained experience using a number of diverse research strategies, tools and methodologies to complete all coursework in an evidence-informed way.

The themes of the research practicum were music and health sciences, translating theory to practice, quantitative and qualitative data analysis, knowledge translation, and not-for-profit work in the healthcare space. The learning objectives were to apply inquiry skills to a novel research question in order to generate and test hypotheses, to analyze qualitative and quantitative data, to translate research findings to the Room 217 staff (harness knowledge translation and teaching skills), to understand the purpose and value of a not-for-profit organization’s research strategy within the health care space, and to gain practical experience working on a research team for a non-for-profit organization.

Among the projects researched and presented were: a study at three hospice palliative care sites in Hamilton in which either Room 217’s music care albums or poetry were used as an approach to care in people at end of life; assessing caregiver confidence in Music Care Training in both Level 1 and Level 3; a report on how Music Care Training Level 3 impacted the caregiving of graduates; a program evaluation of the Music Care Partners program; and how to make the Partners program more sustainable.

All told, the student did an astounding 2,700 hours - the equivalent of 67.5 weeks - of research for Room 217. In addition to the research findings (which will be reported on by the students in upcoming blog posts), the students relayed a number of key learnings from their participation in this class.

One of the students working on the palliative care project said they had to learn “how to go about communicating with people who are at end of life … treating them as people rather than projects.” Another shared that he wanted to continue work that incorporated his love of statistics and music. A student in the Level 3 report noted that in order for music care to be effective, “it takes a village to implement integration (of music into care) not one person.” Another student who made this a thesis project said she learned knowledge translation matters, and that she had to be a researcher and a human. After working with people in long-term care, she came to realize that she under to “understand people as the people that they were” (via family information) rather than the people they currently are. Yet another group came to realize that real world challenges aren’t the same as academic difficulties, and they had to work around a number of challenges, including time crunches for employees.

In the coming weeks, the students will be sharing blog posts here, which account for a portion of their grades in this course.

Music therapist improves ADP music programming with Pathways

Fri, 08 Mar 2019 05:00:00 GMT

What a Difference a Day Makes ( WDDM ) is concurrently Room 217’s current campaign and a program. It raises money to enable us to give the Pathways singing program to Adult Day Programs (ADPs) across the country. In return, we ask that the program sites track observations for 12 weeks, so we get a program evaluation.

Ruth Watkiss is a music therapist employed by Alzheimer Society Peel. She works Monday through Friday in adult day programs. Half of each day is spent working directly with the clients; they’re incredibly fortunate to have a music therapist not only on staff, but on site one day a week.

When Ruth heard about WDDM, she signed up all five of the ADPs in Peel. All the sites have completed their observation periods, and all have integrated Pathways as part of regular programming. She’s a big advocate of the program.

There are eight staff at each site, and Ruth says all staff have watched the Pathways tutorials. Every new staff member watches them too. “They are learning what the program is, and they can run it correctly,” she says.

Over the summer, Ruth created bundles to go with each episode, so staff don’t have to search for materials to enhance the program. She knows program staff are short on time, so she built playlists and made a YouTube channel that all the sites can access. For example, she has videos of people doing the polka to accompany the Europe episode, and has created a Spotify playlist of several versions of Danny Boy for the U.K. episode.

These bundles supplement the Pathways program. Ruth believes that the secret to the success of the program is not just the singing – it’s the socializing and chatter that takes place during the activities. She says some clients get so involved in the activities, that staff are constantly learning more about the clients. “It’s not just a sing-along,” says Ruth. “It’s about the engagement. The sing-along is great but the extra connections…staff find out about clients,” she says. She doesn’t find the same type of response in other sing-along programs.

Pathways is running at least once a week in all five Alzheimer Society Peel’s ADPs. It’s scheduled for a 45-minute block – half an hour for the episode and 15 minutes for an activity.

Even though Pathways is on the schedule, she’d like to see it run even more frequently. “There are different clients in different days,” says Ruth.

She added Pathways to the five ADPs because “I want a better music program.” She knows that some staff are uncomfortable singing publicly, and they are inspired by Pathways. Ruth says the fact that the singing host, Briar Boake, “gives some confidence to frontline workers who aren’t comfortable. I like it. It’s a great program.”

Musician in healthcare appreciates partnership

Mon, 28 Jan 2019 16:01:00 GMT

My personal journey into this world of music and care began as an interest in the power of music to connect people, to provide a platform for communication without the need for the usual awkward conversational rules of engagement – at which we Brits are frighteningly proficient!

As Chief Executive of OPUS Music Community Interest Company , I’m now surrounded by a team of brilliant musicians/trainers who share in this skill and passion. Together we work in healthcare environments with people of all ages, from babies in neonatal intensive care, to teenagers in mental health settings, to people living with dementia and those nearing the end of life.

Over the past eight years, OPUS has trained many people in the use of music in healthcare. Our courses and apprenticeships for musicians have led to the formation of many new organisations and programmes of practice across the UK. Building this network through conferences and symposia has resulted in the formation of the National Alliance of Musicians in Healthcare which fed into a recent governmental inquiry into the impact of Arts and Health. This inquiry now inextricably connects the UK governmental departments of Health and Culture, imploring them to work together with the shared understanding that the Arts (including music) keeps us well, aids our recovery, and supports longer lives better lived.

So when I first met with Bev Foster back in late 2017, I was excited to hear about the wonderful work of the Room 217 Foundation. For many years, care staff have been inspired by the impact of our practice, and asked for support in continuing purposeful music-making with their patients outside of our visits. We were always happy to provide ideas, to help them explore their own musicality, and to find their own way to use music within their scopes of practice. But now, suddenly here was something carefully researched and designed, something with structure, something to provide a standardised progressive training for carers, something with a name – Music Care!

Over the past year, my team and I have been incredibly fortunate to shadow Sarah Pearson and Chelsea Mackinnon during their delivery of Music Care training in the UK, and to take on this mantle for ourselves. Our first course, in partnership with Nottingham University, took place in November 2018 and was wonderful to deliver and to watch our participants grow in confidence and excitement at the prospect of taking new music care initiatives back to their own settings. This is just the beginning of a process of rolling Music Care out across the UK, a process which OPUS is excited to lead in partnership with Room 217 Foundation.

And now, at the beginning of 2019, I am preparing for a trip to Toronto and to the home of Room 217 in Port Perry. I’m excited to be meeting with other Music Care trainers, to sharing ideas together for the continued development of this curriculum and training, and to connecting through music-making with this incredible group of people. Exciting times ahead!

Nick Cutts is Chief Executive, OPUS Music Community Interest Company

Members of our speakers’ bureau provide education at your event

Thu, 10 Jan 2019 16:39:00 GMT

At Room 217 , training and education takes place in a number of ways.

Annually, our Music Care Conference brings together all kinds of caregivers who want to learn about music in care, usually around a theme. This learning community meets in person, is able to network and share ideas. Monthly, our Music Care Webinars are able to virtually bring together teachers and learners from around the globe. These free webinars are a great way for people who want to learn more about music in care to learn from people who are experts through academic, professional, or lived experience. Throughout the year, Music Care Training classes are held across Canada and in the U.K., and provide health care professionals, volunteers, and family members with a baseline training about the intentional use of music in care settings.

But did you know that Room 217 can also bring training and education to you? We have a speakers’ bureau of three people who can present on a number of topics to settings as varied as an hour presentation to a community group, to workshops for corporate events, to plenary and keynote addresses for conferences.

Each of our speakers brings a unique perspective, and we work with potential clients to select the most suitable speaker for their events. Each speaker uses a combination of storytelling, live music and evidence.

All of Room 217’s speakers provide customized presentations to clients who seek educational and inspirational content for their staff, volunteers, or members. To book a speaker for your workplace, corporate event, or conference, call Deb at 905-852-2499 or email dbartlett@room217.ca .

New Sounds in Palliative Care

Wed, 19 Dec 2018 19:00:00 GMT

The effects of my family singing around Dad as he was dying has inspired me to help other families support loved ones with music. Music becomes an important accompaniment through an end of life journey. I see it as a valuable psychosocial and spiritual tool, enhancing connection and communication, strengthening relationship completion, and offering existential meaning and support. These outcomes help to inform performance methodology and production values of Room 217’s music care Collection series.

Collection 1 is a mix of familiar music designed for whole family care. Using a gentle ribbon of two to four “colours” of sound, the music ebbs and flows, is paced around the 60 beats per minute mark to entrain with resting heart rate. Collection 2 increases the breadth of universally familiar western songs from various genres like country, jazz, inspirational, and Broadway.

Over the past decade, the sounds of the 12 albums in Collections 1 & 2 have resonated in hospice, palliative care, long-term care rooms, and in private homes across the country. Whether delivered by CD, itunes or a streaming service, the Room 217 brand of comfort music has been used by professional and family caregivers to accompany thousands of Canadians in their end of life journey.

This year, we have begun to produce two new collections that will help meet expanding needs of palliative and end of life care in Canada. We are planning to launch both collections in April 2020 at the Hospice Palliative Care Ontario conference.

Collection 3 is all about diverse sounds. While we may not meet every culture in this collection, we are using universal ethnically inclusive sounds like the oud, sitar, native flute, shokahachi, zheng, kalimba and panpipes. In this collection, it will be the timbre – colour – of these sounds, rather than songs, that are associative. We are creating improvisational soundscapes, performed in collaboration with expert musicians of various cultures. Our talented creative leads, Aaron Lightstone & Justin Gray , are developing a production process that includes a cultural discovery process with master musicians and palliative care experts. Together they determine meaningful soothing sounds within a cultural context. As themes emerge, soundscapes will be created, and albums will be named.

Collection 4 is for the boomers. Boomers notoriously have a strong relationship to music and are now populating end of life settings as both care receivers and caregivers. There are thousands of potential songs for these six albums, so a process of song selection has been critical. Over the past year, we have engaged in surveys and focus groups with Room 217 stakeholders to determine song lists. Veteran producer Carmon Barry and performer/arranger Aidan Mason join me on the creative team for this collection. Watch for these upcoming albums:

We’re excited to expand the Room 217 music library with 12 new albums to touch more lives and reach into more rooms with the healing power of music. To date, we have raised 20 per cent of production costs. Because we are responding to the need for diversity in music for palliative care, Room 217 encourages financial support from a variety of cultural groups. If you would like more information on how you or your organization can be involved in helping us with either of the new Collections, contact Deb Bartlett dbartlett@room217.ca .

Holidays and Playlists

Mon, 03 Dec 2018 22:38:00 GMT

Whether you’re hosting a holiday shindig for your friends and family, picking background music for your workplace, or trying to brighten up the mood at the medical centre you work at, chances are you may have been tasked to create a “holiday playlist.”

In the age of digital streaming, it has never been easier to forsake the role of “DJ” and pass it over to an algorithm instead. Rather than hand-select your version of Silent Night and Jingle Bell Rock, and carefully arrange each song in the order you prefer, now with the swipe of a finger you can command a streaming app to play and endless mix of Christmas “favourites.” Spotify alone offers the choice of “Christmas Jazz,” “Christmas Pop,” “Easy Christmas,” “Classical Christmas,” “Country Christmas,” “Gospel Christmas,” “Rock Christmas,” “Christmas rap,” “Indie Christmas,” and “Christmas Crooners” - and the list goes on and on.

Just a decade ago, faced with the job of making seasonal playlists, we might have carefully thought through the mood and tone of the music we were choosing, deferring to our favourite albums or even hand-selecting CDs from the public library. We might have gone to extra lengths to customize the songs for the people who will listen, bring back certain memories and avoiding others. “My cousin Jim just loves ‘O Come Emmanuel’!” “’Carol of the Bells’ will get everyone singing!” “Let’s get the theme song from Home Alone – we loved that movie as kids!” “Better not put ‘Silent Night’ on there. It’ll make Joanie cry and she’s had such a rough year.” These types of considerations are lost when we choose to stream digital playlists.

If you’re going to use pre-made playlists for your holiday-themed background music, be it at work, in a care setting, or at home, here are a few considerations for adding a bit of the “music care approach” to your selection:

While the digital age of music has its enormous advantages for listeners, it also has its setbacks. Independent musicians are losing money through these streaming apps, which pay royalties to major labels but very little to individual artists, and it’s not a sustainable revenue model for independent musicians. Also, the more listeners turn to pre-made playlists, the less we connect with actual albums, which are crafted carefully by artists to create a flow, a story, and a musical arc. Albums are essentially pre-made playlists, with a consistency of tone and theme that can’t be beat with by a digital mixtape. This holiday season, whether you’re DJing your work party or gathering around with your family and friends over some nog, consider digging out an old Christmas album, or even purchasing a new one. Enjoy the story that the artist is sharing with you, their own sense of wonder and reflection about this season of the year, and how it invites you to create new memories that will live on for you in that album.

Sarah Pearson, MMT, MTA, RP, HonBA, is a music therapist working in oncology, palliative care, and mental health, and is the Program Development Lead for Room 217. She has a background in non-profit communications and copywriting, and performs regularly as a singer, choral artist, and songwriter.

Room 217 products featured in Care Corner

Thu, 08 Nov 2018 21:23:00 GMT

Photo courtesy of the Grenfell Public Library

The wingback chair, tucked in a cozy corner beside a fireplace, is not just a spot to sit and rest at the public library in Grenfell, SK. It’s part of the Care Corner, developed by staff at the library, and was designed as a Saskatchewan Public Library Week (Oct. 14-20) initiative.

Head Librarian Sheila Warne-Peter says the corner was made possible because of a memorial gift left to the branch. Sheila says the gift was a wonderful way to acknowledge the loss of a grieving family, while helping other area families who were struggling with caregiving duties, too. The Care Corner is a quiet place to sit and have a cup of tea, listen to the water wall, and indulge in self-care, or learn about the resources available to them as caregivers.

Behind the chair are shelves filled with books about caregiving and books to inspire, resources to be found in Grenfell, and a number of Room 217 resources, including all 12 of the CDs , and all three sets of Conversation Cards ( Older Adults , Life Review and Dance ). The resources can be used on site, or can be checked out to take home.

Sheila says the literature about local resources are better accessed now that they’re located in an out-of-the-way corner of the library, not where patrons can be observed perusing the information. All the resources are about grief, or care, or legal resources.

The Care Corner opened Monday, Oct. 15, with a presentation by a social worker on anticipatory grief. The branch is still stocking the corner with resources. Sheila says the Care Corner will also become a site for GriefShare meetings, to help people who are bereaved, to cope.

Sheila says Grenfell is a small community (about 1,000 people) with a large number of seniors. She wanted to ensure that the Care Corner wasn’t a space just for seniors, but that any caregiver would be able to find resources or solace.

Room 217 in Nottingham Fall 2018

Thu, 25 Oct 2018 20:07:00 GMT

Photo Credit: Kayleigh Renberg, University of Nottingham

While 2018 has been exciting for many reasons here at Room 217, one of the highlights has been the opportunity to develop and strengthen our international partnerships in the United Kingdom. Earlier this month, I was fortunate to represent Room 217 at the University of Nottingham, teaching Music Care Training Level Two, and presenting at the first international Music Care Conference.

It has been an unreal experience for me to be immersed in the U.K. context, where there is so much recognition of the importance of health arts and social care. As I return home, and everyone in my professional and personal community asks me how my experience was, I continuously find myself using the same two words: inspiring, and validating.

I was inspired by the many innovative ways that the arts are being integrated into the care system in the U.K., to improve health, wellness, and quality of life. My jaw dropped on the first morning of Music Care Training (Level 2) during our class introductions, when one of the delegates introduced herself as a member of the York Teaching Hospital arts team. How amazing is it that a hospital has a designated arts team?! I was equally excited to meet healthcare musicians Nick, Sarah, Oli and Rich. This incredibly talented team travels to primary and secondary health care settings to provide “cultural exchanges within clinical environments” (more here ). An equally important and inspiring take-away from the U.K. was witnessing different scopes of practice work towards the same goal, coexisting and complimenting each other’s respective practices. Specifically, music therapists, healthcare musicians, professional musicians, and other caregivers all deliver music within the scope of their individual roles, in healthcare settings. I felt an unspoken recognition of the importance of each group’s work, and the understanding that each player brings a different value to the care setting. This gives me hope that we can find the same balance here in Canada.

A large part of my job is to educate various groups about how music can make a difference in care settings. It was refreshing, for a period of five days, to never feel the need to provide further evidence justifying the importance of the work we do at Room 217. My trip to the U.K. was validating because we are constantly striving for recognition of the arts as contributors to health, wellness and community here in Canada; that validation already exists in the U.K.

Despite that, health arts organizations in the U.K. struggle with similar challenges as those in Canada. Most operate as a not-for-profit organization or registered charity, where funding revolves around granting cycles and donations, accompanied by much uncertainty. To summarize, while the U.K. recognizes the need for music in healthcare, they, too, struggle to find sustainable funding and business models.

I was overwhelmed with hospitality in Nottingham. Our host and champion at the University of Nottingham, Justine Schneider, has believed in bringing Room 217 to the U.K. since she met Room 217’s Founder and Executive Director Bev Foster, just over two years ago at a conference in Toronto, Canada. Justine and Bev both possess an incredible ability to bring people together. This was exemplified in the diverse and complementary voices that were represented at the first Music Care Conference at the University of Nottingham.

If you have never had the pleasure of attending a Music Care Conference , I highly suggest you take a day to do so in the future. Music Care Conferences are like no other conference – they are inspiring, participatory, educational, and fun . Our first international conference collaboration was a huge success.

This trip has made me appreciate the value of international collaborations, and the importance of interdisciplinary perspectives. I come home refreshed, and ready to continue the process of humanizing healthcare through music here in Canada, and around the world.

Chelsea Mackinnon, MEI (c), MA, BHSc, works to incorporate music into healthcare settings. As Research Lead of Room 217, she gathers evidence to support music in care. Chelsea is an adjunct professor in music and health at McMaster University, and has founded and leads the Hamilton Intergenerational Music Program.

MCC offers unique learning opportunities

Wed, 10 Oct 2018 13:50:00 GMT

The Music Care Conference is one of the best one-day learning events I’ve ever been to. And I’m not saying that because I work for Room 217 Foundation. I’ve attended conferences and in-services for jobs in several fields of work, and they can’t hold a candle to Music Care Conference.

The first Music Care Conference I attended was in 2015 in Mississauga. I’d helped to market it, but really had no idea about the feel of the event.

Yes, there are keynotes. Yes there are workshops. Yes, there is performance. But what makes this conference different is the sense of oneness. I’m not sure that’s even a word, but what I mean is that we are all kindred spirits there – we come from a variety of backgrounds, may or may not be working in health care, may or may not be musical, may or may not be an academic – but we all know that music has a role in healthcare, and gather for eight fabulous hours to learn why, and how and what’s next.

What I mean by that is the presenters (keynote and workshops) bring knowledge through study, through clinical work, or through research and share what they’ve learned. There is something for everybody there. What this means is that regardless of your level of education or your level of experience, there is something for you to learn.

At the Mississauga conference (2016) I invited high school teachers who were involved in the Specialist High Skills Major programs in arts and culture and health. Students in this program get a special designation on their high school diploma that signifies they’ve taken a prescribed number of courses (and done some extra work) in a particular field. It gives them a taste of what a career in a field might be like. I was excited when two groups of SHSM students and their teachers came to the conference. One teacher told me after the conference that several of his students were SO excited to learn that music therapy was a job. They’d never heard of it. They couldn’t wait to go home and share that with their parents. The students were keen on music; the parents were keen on jobs in health or science. The students saw music therapy as a viable option to keep everyone happy.

Sarah Pearson, Room 217’s program development lead is a music therapist, and she met with this group of students on a break. That’s the sort of conference it is - it’s not snobby or pie-in-the-sky. It’s real. It presents real issues that real caregivers struggle with on a daily basis. There is a sense of camaraderie among those who believe in the music care approach.

So if you are looking for some continuing education that is informative and inspirational, love music and want to see some performance, and want to come meet a couple hundred new friends, please join us. This year’s conference keynote addresses will be provided by Dr. Gary Ansdell and Dr. Andrea Creech. Dr. Ansdell will speak on the topic of Care for Music: an Ethnography of Music in Late Life and End of Life Settings. Dr. Creech will speak about musicking and creative music technologies for enriching later life. The closing keynote presenter is Ian Thomas, who will speak about My Story with Music and Wellness. I’m hoping to sneak into Dr. Justine Schneider’s session. She’ll be talking about the British experiment around arts and social prescription. That’s right. People are being referred to services in the community, instead of being prescribed medicine. Save me a seat!

Follow these links for more details and to register . If you are part of a group of 5 or more there is a discount code. Register all five people, then pay with the code MCC5ORMORE.

Book Review: Every Note Played by Lisa Genova

Thu, 27 Sep 2018 18:21:00 GMT

Book Review: Every Note Played by Lisa Genova

2018, Scout Press, New York

$27.98 hardcover, $12.74 Kindle, Amazon

In the competitive world of music performance, a disease like amyotrophic lateral sclerosis (ALS) seems unusually cruel, especially for Richard, an accomplished concert pianist. At the pinnacle of his career, his technique deteriorates finger by finger, hand by hand, limb by limb by muscle weakness and paralysis.

Karina, a piano teacher and Richard’s embittered ex-wife suffers her own paralysis, brought on by fear, blame, and unforgiveness. As Richard is no longer able to live on his own, she becomes his reluctant caregiver. As the disease progresses, so does healing – the relational kind.

This is a story about choices and excuses. It is about forgiveness, compassionate care, and redemption. It is about reconciliation, finding peace, and inner healing.

Award-winning and New York Times best-selling author Lisa Genova continues her unique style of scientific knowledge translation through fiction. Genova, a Harvard-trained neuroscientist, helps readers learn about a disease from the perspective of the lived experience, not from the textbook. Her engaging mix of neuroscientific fact, the unfolding of disease (in this case ALS), believable contexts and characters, understanding of relationships and the human condition is compelling.

As a classically-trained pianist myself, this book resonated with me on many levels. A musician makes choices along the way. Fear, self-doubt, arrogance, pride, joy and elation are some of the emotional factors that underlie choices. Coming to terms with our own humanity away from the stage and spotlight can be a struggle. Motivation for career sacrifice for the sake of caring for others must be reconciled. Letting go of unforgiveness sets us free to find our authentic human destiny.

As a resource for music care, Every Note Played attempts to bring the worlds of elite musical performance, neurodegeneration, and the realities of family caregiving into one irresistible story. I highly recommend it.

Music and PTSD

Mon, 17 Sep 2018 14:11:00 GMT

It was a summer day, and I was driving down the 401 on route to my Grandma’s house. I was with a few close friends, and of course, we were listening to music. It was a beautiful sunny day, and we were excited for the weekend ahead. It was an immediate change, when the speakers began to play a distinctive rhythm of the drum set, signalling the next song on the playlist. Even before I had recognized the song, my friend became tense, her jaw locked, and I could hear her breathing getting heavy. Recognizing what was happening, we changed the song, and asked if we should pull off the highway.

Post-traumatic stress disorder, or PTSD, occurs when a person struggles to recover from a traumatic experience. PTSD is different for everyone; some individuals re-live the traumatic event in dreams or while awake, and others experience heightened emotional distress or anxiety. PTSD can lead to avoidance behaviours, reactivity such as exaggerated startled responses, social detachment, and aggressive behaviour. A diagnosis of PTSD is given to any individual who is not recovered from a traumatic experience one month after the event occurred. However, it is possible to experience PTSD symptoms without being officially diagnosed.

It is fascinating to discuss music and its relationship to PTSD. Music can both exacerbate symptoms of PTSD, as was happening with my friend in the car, and it can be used as a tool to decrease the symptoms of PTSD, ultimately facilitating recovery. Music is intimately linked to emotions, and has the capacity to bring vivid memories, and their associated positive or negative feelings, to consciousness.

The amygdala is the part of the brain responsible for storing our deepest, most primal and most emotional memories. It also stores any musical associations with these powerful memories. Hearing the song associated with her trauma, my friend was immediately transported back an entire decade. Her body began to show symptoms of the fight-or-flight response. Her brain signaled to her body to release cortisol, which started a cascade of events in her body systems. She experienced these physical symptoms all because her amygdala conjured up the memory associated with hearing that distinctive drum rhythm.

Using the same brain mechanism, music can be used to re-direct an individuals’ consciousness to different, less traumatic memories. For example, individuals with PTSD may use music in a purposeful way to distract them from their trauma in the presence of other triggers. Tapping in to an individual’s positive memories that have musical associations can be a powerful way to re-focus attention, and prevent the physical symptoms associated with re-living a trauma.

Finally, engaging in music with a group, through formal music therapy sessions or otherwise, can be a powerful and positive experience for individuals with PTSD or trauma. Music can act as a vessel to displace or express feelings, which can be an important part of recovery. Group musicking has also been shown to increase group cohesiveness. For individuals who experience PTSD symptoms such as social withdrawal, doing music in a group can be a stepping stone in the process of re-integrating social experiences into daily life.

Chelsea Mackinnon, BHSc, MA, is Room 217’s Education and Research Manager. She also teaches two interdisciplinary undergraduate courses at McMaster University, and is the founder of the Hamilton Intergenerational Music Program.

Walking to the beat of music

Mon, 13 Aug 2018 17:23:00 GMT

When I was young, I used to walk to school by myself. It was simple route, straight down 4 blocks and crossing 3 roads exactly. One day as I was rushing to get to school, I saw the numbers counting down on the pedestrian crosswalk light … 10 … 9 … 8 … and I thought to myself “I can make it, I just have to run for it!”, so I ran.

I made it across the street with seconds to spare, but I noticed there was still an elderly lady walking slowly in the middle of the road. It was an awkward walk, her steps were erratic and uncontrolled shuffles along the pavement; at the time, I could only think of how odd it was. However, I attached little importance it, turned my head, and bee-lined straight to school.

This was a memory that I had buried deep to the back of my mind until recently when I was doing some research and came across a video demonstrating the “Parkinsonian gait”, the walking pattern of a person with Parkinson’s Disease (PD). This was when I realized the elderly lady I saw almost a decade ago when I was crossing the street looked exactly like this! Suddenly, something which I had thought so strange and foreign became something I could understand.

Parkinson’s Disease is a long-term neurodegenerative disorder mainly affecting an individual’s motor (physical) abilities resulting in symptoms such as tremors and uncoordinated movements. In particular, individuals with PD often face difficulty walking and is characterized by unsteady irregular steps. In addition to motor impairments, cognitive (thinking) as well as behavioral changes may also occur which may greatly impact their ability to carry out basic daily tasks and independence. While there is no cure to PD, there are many therapy methods which aim to help control the symptoms of PD, such as physiotherapy for mobility, occupational therapy for activities pertaining to daily living, and speech therapy for control control.

Another emerging method of therapy for PD is neurologic music therapy (NMT). Broadly speaking, NMT uses music and/or musical elements to help rehabilitate individuals affected by neurologic injury or disease through sensory, cognitive, and motor pathways. Specifically, rhythmic auditory stimulation (RAS), a form of NMT, is often used to help PD individuals improve their gait (walking) through an auditory input of steady beats, such as the strumming of a guitar or an audio recording, to train and improve the motor system. While a nurse helps the patient walk, a therapist accompanies them with steady strumming of an instrument or a song with a prominent beat. This form of training and external cueing helps set the rhythm within their brain for a steady motor output, for example, a steady walking speed and rhythm (See Figure 1). With consistent gait training through RAS, individuals with PD slowly improve in their ability to walk with a more normal pattern.

Therapy and treatment methods around the principles of RAS has the ability to greatly change and influence individuals who are affected by PD; it helps them regain independence. Thinking back to that morning as I was going to school, I no longer see the elderly lady as someone who had a weird walk, I see them as someone who is fighting for themselves and their independence. I wonder where they were going, how much further do they have to go, and perhaps if I should have turned back to help.

Photo by JESHOOTS.com from Pexels https://www.pexels.com/photo/automatic-city-control-crossing-442584/

Sophie Zhang is a 4 ^th year Bachelor of Health Sciences student at McMaster University. She wrote this blog while completing HTH SCI 3H03 at the Room 217 Foundation.

Global Perspectives on Music Therapy

Mon, 30 Jul 2018 05:01:00 GMT

While there is an exciting amount of research on music therapy happening in Canada right now, it is also worthwhile to consider what is happening in other parts of the world in this growing field. Though development of music therapy is quite widespread, there are a few countries that are currently music therapy ‘hotspots’. The United Kingdom, Australia, the United States and Canada are some of the more commonly known music therapy centres of the world, however there are a few more countries that are up-and-coming in the world of music therapy. Brazil, Japan and Argentina all have quite high numbers of registered music therapists compared to other countries and are publishing a lot of fascinating research on music therapy. This research studies the impact of music therapy in new populations and settings such as premature babies, children with neurodevelopmental disorders, adults in critical care, and many more.
A study done in Brazil explored the effects of music therapy on the relationship between a mother and her premature baby in intensive care and its effect on their wellbeing. [ http://www.wfmt.info/wp-content/uploads/2014/05/Fact-Page_Brazil-2013.pdf ] Researchers demonstrated that music therapy had a relaxing effect on both the mother and child and helped the mother to feel more confident in her ability to care for her child. Music helped to truly calm down the baby which is very important for the delicate setting of an intensive care unit. This is a relatively unexplored area of music therapy and is an interesting avenue for future research.
Japan is home to about 3000 registered music therapists and is also currently engaging in exciting research. Japan hosted the 2017 World

Federation of Music Therapy (WFMT) Conference, where music therapists from around the world gathered to discuss and share their knowledge of music therapy practices. Additionally, a recent Japanese study identified positive benefits of music therapy programs on children with neurodevelopmental disorders. [ http://www.davidpublisher.org/Public/uploads/Contribute/5a572f442961c.pdf ]

It is also important to know the areas of the world that are making significant strides in the music therapy field, even if music therapy is still relatively new to that country. India is an example of one of these countries that is in the process of developing its music therapy industry. An interesting study indicated that the rich musical heritage of India has a lot to offer for modern psychiatry. [ https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4462795/ ] The researchers describe how music has the ability to ‘cleanse an individual from within’ and that it may bring new meaning to life. As the industry grows in India, research will be able to provide interesting information about how culture plays a role in music’s healing ability.
Research on music therapy done in countries that are quite advanced in the field (like the United Kingdom, Australia, the United States and Canada) is certainly valuable and is home to many of the most important studies and reviews upon which we base music therapist best practices. These studies also have the advantage of having comparable population characteristics to our population in Canada so the research is quite applicable. However, there is also great value in staying up to date with music therapy research in countries all over the world. Brazil, Japan and Argentina are examples of some lesser known music therapy research hubs and have much to offer to the rest of the world. Countries like India that are in the process of developing music therapy programs are also of great importance. As the diversity of countries using music therapy increases, music therapy research will continue to expand in new directions.
Learning about the different music therapy centres around the world is important because it allows us to keep up to date on the latest research in the field. By collaborating with music therapy centres across the world, we can share knowledge and continue to advance the field of music and healthcare. We also can develop standards of practice and training that add consistency to the profession of music therapy and help to better understand the mechanisms by which music plays a role in health. Maintaining a global perspective when learning about the latest research in music therapy is therefore a great strategy for improving practices at home in Canada.

Jane Luft is a third year Bachelor of Health Sciences student at McMaster University. She wrote this blog while completing HTH SCI 3H03 at the Room 217 Foundation.

Social Bonding - How music brings - and keeps us - together

Thu, 12 Jul 2018 15:54:00 GMT

We have all heard the saying, “Music brings people together,” and it is hard to disagree. When we reflect on past musical experiences—whether it be attending a concert, singing in the school choir, or simply streaming songs on Spotify when seeing friends—we can each identify moments in which we felt a greater sense of connection to the individuals around us through music.

The role of music in creating and strengthening social relationships manifests in more situations than we may think, and its effects are not always obvious. We could engage with music both passively and actively. As someone who enjoys spending time creating music with friends and tutoring others in piano, I am immensely grateful for the relationships I have formed through active music-making and teaching. With that said, I can also identify ways in which more passive or discreet methods of music engagement have strengthened my connection with those around me. Only a few weeks ago, I was catching up with an old friend in a café and we immediately bonded over a song that began to play in the background. The song stirred a nostalgic conversation about the music we had listened to in middle school, which then prompted us to reminisce about memories of moments in grade school.

So music can enhance our ability to connect with others – why does this matter? Social bonding is essential in maintaining both our physical and mental health. From an evolutionary perspective, bonding enhances our likelihood of survival and reproductive success. As humans, we particularly depend on our social connections for emotional support and a sense of inclusion. In essence, social bonding is a fundamental human need that is necessary for healthy development and functioning.

Musical interactions could evoke a range of psychological and behavioural responses that ultimately promote social bonding. For example, group activities involving music performance , such as singing in a choir or playing in a band, have been shown to enhance participants’ positive emotions, their willingness to coordinate, and their feeling of inclusion. In a phenomenon called the “ice-breaker effect” , group music activities, such as singing, are able to promote much faster cohesion between strangers.

How is music able to have such profound impacts? Music can act through various mechanisms—socially, psychologically, and physiologically. At the social level, having similar musical preferences as another individual reflects shared values. In other words, music may serve as an indicator of the similarity of beliefs, which could mediate the process of bonding. Music may also exert its effects psychologically , as it promotes coordination, synchronization, and shared attention.

From a physiological standpoint, there is a strong link between music engagement and elevated levels of specific neuropeptides (signaling molecules in the brain) that are implicated in social bonding. Oxytocin, commonly referred to as the “love hormone”, is released during music-making due to sensory and emotional stimulation. Oxytocin is associated with greater empathy, trust, and generosity, which are crucial in developing relationships. Another molecule, known as β-endorphin, is released during synchronized actions, such as those facilitated by the rhythmic nature of music. It is linked to touch, mother-infant bonding, and romantic connections.

One particular area of interest in current research surrounding music and bonding is the impact of music therapy interventions on parent-infant bonding . During music therapy sessions, parents show increased responsiveness to and synchrony with their children. These musically-facilitated interactions ultimately enhance attachment between the parent(s) and infant, which is essential to both parental wellbeing and healthy child development. Music can be effectively leveraged, as humans are primed to distinguish musical elements, such as rhythm and pitch, and infants in particular are primed to recognize their mother’s voice.

When considering both anecdotal experience and research evidence, we can certainly acknowledge the unique power of music in promoting bonding between individuals—and we can harness this power to enhance health and wellbeing.

Yina Shan is a 3rd year Bachelor of Health Sciences student at McMaster University. She wrote this blog while completing HTH SCI 3H03 at the Room 217 Foundation.

An Activity a Day Keeps the Doctor Away: Exploring Social Prescriptions

Wed, 20 Jun 2018 14:40:00 GMT

Doctors are becoming more aware of the importance of social networks in patients’ lives. Evidence has shown that those who tend to be the most well-connected with their community also tend to be the happiest, enjoying healthy lives. A strong network of social support also makes it more likely that an individual will take their prescribed medications.
Principles like these fuel growing interest in social prescriptions – an exciting approach that takes us one step closer to a holistic approach to medicine.

Background and Benefits
Mainly being used in the United Kingdom, social prescribing allows health care professionals to access more options to give a patient. The “prescribing” process involves primary health care professionals, such as family doctors or nurses, who work with patients and a knowledgeable community link worker to connect a patient to local non-medical interventions. Referrals look at a patient’s unique lifestyle, interests, and needs. They are usually added to the everyday medication that a patient might use for their health condition. Examples of what an individual could be prescribed include: group art therapy, community choir, walking groups, reading groups, and volunteering. As seen from these examples, interventions are often in the voluntary and community sector.

Now, because the goal of social prescriptions is to help patients develop healthier lifestyles and to improve social parts of their lives, it makes a lot of sense for community music activities to often be prescribed. Growing research shows the long-lasting effects of communal music-making, whether it’s participating in community choirs or group song writing sessions. Specifically, participating in community music has led individuals to feel more empowered and self-confident, as well as leading to reduced social isolation and greater resilience. These consequences are extremely important when we are dealing with long-term conditions and mental health issues.

Ultimately, the goal of social prescribing is to promote better patient outcomes. This could be in the form of reduced heart disease, better management of diabetes, or improved mental health. In terms of cost-effectiveness, social prescribing is one of the ways the UK is trying to decrease the number of speciality-care referrals and the use of expensive medical treatments for long-term health conditions. Some pilot studies suggest that social prescriptions decrease unnecessary medical prescribing, and, at the end of the day, lead to a more worthwhile use of doctors’ time.

Social Prescriptions: A Broad Health Systems Perspective and Looking to the Future
In healthcare, there is a general “Triple Aim”: 1) to use a mix of approaches to improve care, 2) to improve population health, and 3) to reduce costs per patient. Social prescribing meets all of these points: it is a money-saving option that will help patients with long-term conditions to manage their condition and improve their health and well-being in an ongoing way.

It’s exciting to think about how we might be able to put social prescribing to practice here in North America. For example, the Canadian city of Hamilton, Ontario, which struggles with very large differences in the wealth, mental and physical health of its residents, could benefit from this creative approach. Considering that social prescriptions are, above all, unique to each patient and will use local resources, cities like Hamilton should to embrace this opportunity to use the many community resources and services they have.

And perhaps sometime soon, singing will be exactly what the doctor ordered.

Maggie Li is a third year Bachelor of Health Sciences student at McMaster University. She wrote this blog while completing HTH SCI 3H03 at the Room 217 Foundation.

A closer look into the effects of music on a cellular level

Tue, 22 May 2018 16:12:00 GMT

Music provides a variety of different physical, mental, social, and spiritual benefits, with applications ranging from stroke rehabilitation to early childhood education. Although clinicians, caregivers, and researchers report the positive effects of music in terms of “what” they see on a personal level, we are often left without a deeper understanding into exactly “how” music affects us on a cellular level. Here, we will take a closer look into some novel effects of music on a microscopic level and how these findings may be important for future cancer treatment research.
For the longest time, it was thought that music affected the human body mainly through sound by travelling through our ears and into our brains to evoke some sort of feeling or emotion. In this case, music would directly interact with cells within our inner ears that are responsible for detecting the vibrations in the air caused by different sounds. However, research has now shown music does not exclusively affect just auditory cells, but non-auditory cells as well.

In a study by Lestard et al., they proved that breast cancer cells were able to exhibit a response to music. Specifically, when these cells were grown while exposed to music, it was shown that music actually increased cell death and decreased cell growth. Upon further investigation, it was revealed that the protein p53, which is in charge of cell death and growth, was increased in all music conditions compared to that of the silent control conditions.

From there, the study also looked into the effects of three different musical pieces in Mozart's Sonata for Two Pianos in D major, KV. 448, Beethoven's 5th Symphony, or Ligeti's Atmospheres on the same cellular effects shown previously. Although all three types of music showed decrease in cell growth and increase in cell death compared to the silent control groups, they actually showed different rates in comparison with one another.
Finally, after showing the effects of music on cells and the effects different types of music may have, they wanted to show the effects of music on different types of cells. Using a different type of breast cancer cells, they repeated the experiments and found that music affected not just cell death and growth differently, but also the ability of these cells to migrate and move.

Thus, these main three findings suggest that music can affect non-auditory cells through different mechanisms than originally thought. Specifically, breast cancer cells show increased death and decreased growth in general when exposed to music, with these effects being dependant on the type of cell and/or music used.
Although it was not tested for in the study, it would have been interesting to see the effects of music in normal breast cell lines or other types of cell lines to see if these effects were solely cancer specific or breast cell specific. This becomes important because if it is shown that normal breast cells do not show the same pro-death and anti-growth effects from music shown in breast cancer cells, then we may be suggesting music to have possible anti-cancer growth effects.

Overall, these findings may provide a framework for future research exploring the role of music on the cellular level and its possible implications in disease treatment and prevention. This becomes important not just for a better overall understanding of the way music works within our bodies, but also with regards to building concrete evidence to support the practical applications of music in care.

Cimon Song is a fourth year Bachelor of Health Sciences student at McMaster University. He wrote this blog while completing HTH SCI 4W03 at the Room 217 Foundation.

Music Making a Difference at Shepherd's Care

Thu, 10 May 2018 15:59:00 GMT

After members of the Shepherd’s Care Foundation board saw Alive Inside two summers ago, they decided to fundraise for a music in care initiative to support seniors.

Krysta Inch, Therapeutic Service Manager at Shepherd’s Care Foundation, says she wanted to learn more, so she and two others attended a Level 1 Music Care Training offered by Room 217 in Edmonton. Krysta says what she learned was invaluable. A music in care committee was struck, and she felt compelled to share what she’d learned in Music Care Training. “There is so much more music opportunity then providing music through headphones for individuals, like what was presented in the Alive Inside,” Krysta shared.

Since then, a number of initiatives have blossomed at Shepherd’s Care that are bringing music to the lives of a wide range of residents.

The board wanted staff to broaden their understanding, and agreed for an exclusive training of 30 Shepherd’s Care staff. Krysta says they wanted to empower those champions who wanted to use music in their care. They hired a music therapist for eight weeks last summer, and purchased Room 217’s Pathways Singing Program (designed for dementia). She loves the program because it’s simple to use, and even students have been shown how to lead a session.

Krysta says the reaction to Pathways has been amazing. “It’s ridiculous. I can’t believe how much they love this (program). They love her (Briar Boak, the singing host).”

They love her so much, the rec staff started putting Pathways on in common areas between 2:45 and 3:15. Why? “We’d identified that that was a key time where some residents were experiencing falls. That’s shift change time, and when staff were charting and reading notes, there were falls taking place in the home. Krysta says falls have reduced during this identified time frame “It’s an effective tool for us,” she says.

Shepherd’s Care has also created music in care resource carts that are portable. The carts have a TV and DVD player, the Pathways set, and other music resources. They’re small enough for one-to-one visits for residents who are socially isolated, she says, but can easily be adapted for groups.

Shepherd’s Care has also started large singalong groups that regularly draws 50-60 people. That program is running in several care areas, and draws a range of residents from those who are fully independent to those with severe dementia.

Technology, too, is changing how they’ll be bringing music into the lives of residents. Krysta says they are getting iPads, and Apple music, so they’ll have access to “massive amounts of music.” Residents will be able to see and hear the music at the touch of a finger.

The homes have also invested in music carts, containing a number of instruments. Krysta says they’re mostly percussion instruments that enable residents to play as a group, or to accompany live entertainers when it’s suitable.

Their music in care initiative also includes the training of all rec leaders to lead drum circles, rather than paying someone to come in and facilitate the circles in the homes. The leaders learned the history and purpose of drumming, and they’ll be leading 30 minute sessions.

Krysta says staff are also creating music moments. When staff see another team member use music in the care of residents, they write it out and submit it in a draw. The goal is to recognize people who are using music in care. The champions were special pins that identify them as a music leader in the home.

A next step at Shepherd’s Care is using music therapy with goal-driven programs, to further the good work that’s already being done.

Since these initiatives have begun, Shepherd’s Care has been using RAI MDS tools to track outcomes. They’ll be able to show the board how music has made a difference in the lives of their residents.

“We know it’s making a difference,” Krysta says. “This is real.”

Deb Bartlett is the resource lead for Room 217 Foundation. By profession, she is a journalist who has worked in community newspapers in the GTA for 30 years. If you have a story to share about how music has affected your caregiving, email dbartlett@room217.ca .

Sleep Kits For People With Dementia: A Room 217 Caregiver Story

Fri, 06 Apr 2018 16:26:00 GMT

Room 217 CDs make their way into study of The Sleep Kit in New Brunswick

It’s not every day that an order for 60 CDs comes in to Room 217. So when it does, we notice. And ask questions. It turns out that a research team in New Brunswick wants to use our music in a study on sleep disturbances in people with dementia.

Eve Baird studied gerontology at St. Thomas University in Fredericton, and is now working at York Care Centre as a rec therapist in a specialized 24-bed unit where all residents have dementia.

The sleep study idea originated with a paper she wrote in university. She had to address a health issue of older adults, and then to create an innovative solution to go along with it. “I decided to write about dementia to explore the topic further, and found that sleep disturbances were a significant issue for these individuals,” says Eve. “There were not many solutions other than exercising more, reducing caffeine and using medications, so I wanted to look at other options.” Her option was The Sleep Kit.

Eve says while there is a lot of support available for caregivers in NB, there are not many tangible tools for them. “I wanted to try and provide them with some kind of solution.” She says studies in New Brunswick point to lack of tools as a reason for high caregiver burnout.

She decided to pursue the idea of The Sleep Kit, and through York Care Centre, applied for research funding, and was awarded $50,000 from the Centre for Aging and Brain Health Innovation. That amount was matched by the New Brunswick Health Research Foundation . Her co-worker Claire Hargrove, who works in the York Care Centre’s adult day program, is her project partner.

Eve is researching not only sleep disturbances in people with dementia, but in finding a solution to that problem. She will study the effects of consistent use of The Sleep Kit by a care partner before bed on the quality of sleep. A total of 50 participants will be studied; half living in their homes, and half living in institutions.

The funding includes the wearing of a Fitbit that will be worn in the evening and overnight for five days pre-test, and over a period of 30 days. “We will be looking at total sleep time, and nighttime awakenings,” says Eve.

The study will begin in the summer in the community, in the fall in the institutions. There will be one report compiled of all data, and Eve says with the help of Janet Durkee-Lloyd, her professor from St. Thomas who encouraged the idea in the beginning, would love to write a published article in the future.

Working in the afternoon and evenings at the nursing home, Eve has seen firsthand sundowning, and sleep disturbances, “which is exacerbated by other symptoms of dementia,” she says.

“Medication is not the answer for everyone,” she says. “It’s important to look at other options.”

She’s hopeful that regular use of the contents of The Sleep Kit in the evening by a care partner will improve the sleep of the person with dementia. The use of the kit will promote a nightly routine, and social interaction, says Eve. She thinks having a connection is important for not only the person with dementia, but also the caregiver.

The Sleep Kit will include items like lotion, a brush, and one of Room 217’s CDs . The CDs have been designed for use in palliative care, but have other applications, including relaxation and pain distraction.

York Care Centre has Room 217 CDs that Eve “uses all the time. I use them with aromatherapy. They’re great. So these are the ones I want to use (in the study).” While the sleep kits are being studied for this project, Eve hopes that in time, the kits can be individualized and marketed for sale.

Eve says aging “shouldn’t be viewed as a crisis,” and feels the conversation and narrative about getting older needs to change. She feels elder care needs to be less “medicalized and more person-centred.” She’s hoping The Sleep Kits will be a catalyst for that.

Murray McLauchlan is honoured

Thu, 15 Mar 2018 13:39:00 GMT

Murray is passionate about music as a means of person-centred care. Here is what he says about his work with Room 217:

Having had a very hands-on experience with the palliative care of my mother and now with dementia in the family my interest in the work of Room 217 Foundation in music care is far more than academic. It was a very natural fit for me to be become involved .

WANT TO HEAR MURRAY LIVE?
Voices that Care is a benefit concert for Room 217. Murray will be performing live along with Dan Hill, Sylvia Tyson, Ezra Jordan, Jill Barber, and others Thursday April 26 at the Glenn Gould Studio in Toronto. Hosted by Denise Donlon, the night is an eclectic mix of Canadian greats. The night begins with a cocktail reception and includes a dessert intermission. Tickets are $175 pp a portion of which is tax receiptable.

Purchase tickets here www.voicesthatcare.ca

The Music Care Partners Program

Thu, 15 Feb 2018 17:01:00 GMT

The Partners Program brings together members of a long-term care community, including residents, staff, and family members to work with the Room 217 research team. Together, they design a “Music Care Initiative” with the end goal of decreasing isolation and loneliness in their community. Room 217 provides training and guidance to the community so that they can use music in an informed way. In our pilot study, we worked with three long-term care communities in the Durham region of Ontario. Start-to-finish, the program lasts six months, and includes education, training, coaching, a music care initiative, and evaluation. The Partners Program helps communities use music to meet their specific community needs.

Partners uses a type of research known as Participatory Action Research, which is unique because it engages community members in the research process. Instead of a research team coming into a setting and doing research on participants, the participants themselves are directly involved in the research process. This allows the community to take ownership over the project and drive it forward to meet their unique objectives and outcomes. In the Partners Program, all three communities designed very different Music Care Initiatives.

Fenelon Court designed a Music Care Initiative called the “Fenelon Follies”, where isolated residents were invited to practice for, and participate in, a Variety Show. Three times a week for two months straight, each participating resident practiced the song they would perform at the Variety Show. The Fenelon Follies each picked the song they would perform; some residents performed individually, and others performed in the bell choir or drum fit groups.

Lakeview Manor took a very different approach and designed Music Care Plans for residents participating in the Partners Program. Staff from different divisions came together to determine the best way to integrate music into each individual’s day. The “music prescriptions” were written into care plans, and carried out by nursing staff, therapy staff, and recreation staff alike.

Port Perry Place designed a Music Care Initiative called “Music Wonder”, which was named by one of the residents who helped with the design. In this program, all staff, family members, and residents are invited to participate in short burst of musicking with residents at Port Perry Place.

The three Music Care Initiatives were designed to meet the needs of each home, but they all were united in their purpose: to decrease isolation and loneliness experienced by residents. Isolation and loneliness are factors that directly impact physical health and wellbeing. It was our hypothesis that through the structured and intentional use of music, the Partners Program could decrease isolation and loneliness, thereby increasing the quality of life of participating residents. We measured isolation and loneliness before and after the Music Care Initiatives were implemented, and found many positive outcomes, both statistically and qualitatively.

The Partners Program led to countless meaningful moments, for residents, family members, staff, and researchers alike. Staff members who were self-proclaimed “non-musicians” learned strategies and techniques so that they could use music with confidence in the scope of their roles. Across all three homes, we saw a significant decrease in responsive behaviours from participating residents. Isolation and loneliness decreased, and we saw an overall increase in community cohesiveness, even for residents and staff members who were not directly involved.

Through the Partners Program, we witnessed many profound changes in participants. Residents were described as appearing “more alive”, and in one instance, a resident began feeding herself for the first time in months. Family members noticed the changes, and began asking staff members what was happening at the home to lead to such profound changes in mood, affect, and behaviour.

The Partners Program helped new residents transition into life at their long-term care home, and helped others cope with health-related transitions. At Fenelon Court, members of the bell choir would attend the program running the hour before bell choir practice, to ensure they were on time and had a “good seat” for the choir.

The Music Care Partners Pilot Study showed us how strong, resilient, and caring long-term care communities are. It was extremely powerful to witness communities coming together around the common goal of integrating music into the daily lives of residents.

Music makes a difference in the lives of long-term care residents. Our vision is to continue to give long-term care communities the skills and expertise to use music in an intentional and informed way through the Partners Program, ultimately increasing the quality of life of residents.

Chelsea Mackinnon, BHSc, MA, is Room 217’s Research Lead. She teaches two interdisciplinary undergraduate courses at McMaster University, and is the founder of the Hamilton Intergenerational Music Program.

Why Music Is Not a Universal Language – and what that means for care

Fri, 26 Jan 2018 05:00:00 GMT

But it is not a universal language.

Firstly, songs have different meaning to different people. Memories can become encoded in music that can be as evocative for a person as smell. In Long Term Care, this awareness if important when we’re using music with residents. One resident could hear “Amazing Grace” and be transported back to warm memories of singing at her Grandma’s piano. Another resident may hear it and recall their wife’s funeral just six months ago. Neither of these emotional responses are wrong, and they deserve validation.

For example, I’ve played Leonard Cohen’s “Hallelujah” at the bedside for people at the end of life, by request, more times than I can count. For many it’s a song that helps support them in letting go. It’s not hard to imagine how much the meaning of that song will have changed for the loved ones sitting by the dying person’s side, hearing that familiar melody and internalizing those words at this tremendous time of loss.

Not long ago I was asked by a good friend to play a special song as she walked down the aisle on her wedding day. The song she requested, that she’d always dreamt of getting married to, was “Hallelujah.” For her, this song now carries memories of overwhelming joy and happiness. Imagine if somehow this friend, and any of these family members who’d sat by their loved one’s bed as Hallelujah was sung, ended up one day in the same LTC home, and heard this song played at a sing-along. Their experiences would be vastly different.

Secondly, musical tropes vary from culture to culture. Whether we are conscious of it or not, we all have a musical “literacy” that gives us cues about the mood and intention of a piece. These differ depending on the culture though. For example, in Western music, the “minor” scale has always signified sadness, melancholy, anger, inwardness, or fear. However, the same or similar scales are used in many African and Asian musics to signify joy, happiness, and success. The emotional reactions and general assumptions we make about music will inevitably be influenced by our cultural background.

When introducing music in care, especially in settings with more cultural diversity, it is important to be sensitive to the different musical languages everyone may be experiencing. It is also an opportunity for understanding a person’s own musical preferences and stories behind their most cherished songs.

What does this mean for care? It means we can use music as a way to get to know people better. When we acknowledge that music isn’t universal, we can instead use it as a tool for delivering more person-centered care. We can take the time to get to know someone’s beloved music, the stories that those songs tell, and the memories, joyous and bitter, that they carry. When using music in a group setting, we can remember that though something may seem like a “happy” song to us, it may be a sad song to someone else. If we take the time to honour these individual differences, we can show that we care. By embracing each person’s unique individual music, we can help strengthen the universal language of care.

Sarah Pearson is a music therapist working in oncology and palliative care in Kitchener, ON. She is the Program Development Lead for the Room 217 Foundation and Lead Facilitator of the Music Care Training program.

Sharing Music on Christmas Morning

Thu, 14 Dec 2017 22:21:00 GMT

When Nan was alive, I made sure we parked her and her wheelchair close to the piano. She sat slumped in a catatonic stupor in her chair. Vascular dementia threatened regular blood flow in Nan’s brain, causing a series of mini-strokes that affected her thought processes. Each Christmas morning, the music woke her up. Every musical phrase seemed to cobble her preserved self back together. It was as if music was a magic key, unlocking the stolen treasure trove of her precious memories and selfhood, giving them back to her and to us if even for a few moments.

It was like that for my friend Judy’s mom too. She had been a night club singer and knew all the seasonal riffs. While she couldn’t remember what she had for breakfast, or Judy’s name, once a tune started, she would come alive, stand in her performing stance, an imaginary microphone in hand, twinkle in her eye and break into song. She knew every word and performed with ease and musical nuance. She was effervescent. She was on stage. She delivered. Judy is also part of our merry-making musical troupe.

Last year, my mother-in-law, Elma, was part of our group. She lives in the secure area at Port Perry Place and travelled along with us as we sang to and with her friends and neighbours. Elma quite confidently sang along in both English and French. Singing Christmas carols seemed to transcend her advancing Alzheimer’s Disease. Embedded deeply in her neural pathways are seasonal songs basted in meaningful, cultural practices, rife with powerful emotions, unscathed by The Atrophyer.
I’m looking forward to Dec 25 this year for a lot of reasons, mostly to watch three, maybe four generations of Fosters make music together, a timeless tradition of voices, fiddles, harmony, and Christmas cheer. The joy is in the sharing.

Bev Foster is the Executive Director of Room 217 Foundation.

Christmas in September revisited

Mon, 04 Dec 2017 14:52:00 GMT

Dad loved Christmas! Trimming the tree, baking cookies, making rum-soaked Christmas cake, putting up Grandpa’s train, going to midnight mass, Christmas was Dad’s favourite time of year. What I remember most about Christmas past was Dad’s constant singing. Dad never learned how to play an instrument but Dad sure loved to sing. He belted out Christmas carols completely off key but he didn’t care. Dad loved his beloved Christmas music.

His two favourite carols were the Little Drummer Boy and Silent Night. Every year as a family, we watched the animated Christmas classic: The Little Drummer Boy on TV and I remember one night seeing tears in Dad’s eyes as he hummed along with the little drummer boy playing his drum and singing for his saviour. There was something tender about the Little Drummer Boy song that seemed to touch my Dad’s spirit.

On Christmas Eve, we went to Midnight Mass and Dad always nodded off. The combination of the late hour and too much eggnog always put him to sleep but the minute a hymn started, he quickly joined in with the choir, never missing a beat. His voice echoed in our old local church as he sang the sacred hymn, Silent Night. I was sure the entire neighbourhood was waking up to the sound of Dad’s voice at the midnight hour.

The Christmas of 1998, Dad went into the hospital. He developed leukemia in the latter stage of his life and we gathered Christmas Day at his bedside. I handed him my Christmas present. As I wandered the mall that year I had found a little drummer boy tree ornament at Hallmark and with choked back tears, Dad silently hung it on the little hospital TV across his bed.

Dad rallied for the next few months but in Sept of 1999, Dad’s long journey with cancer caught up with him. Dad slipped into a coma overnight and we knew that the end was near. As we gathered around his bedside at the Grand River Hospital in Kitchener, with tears rolling down our cheeks we each said our good-bye. Feeling helpless and not knowing what to do, my younger sister slipped out of the room. About 30 minutes later, she came back with a CD player from home and an armful of his favourite Christmas CDs.

Although in a coma, my sister knew that Dad’s spirit would be lifted with the familiar Christmas music. Later that afternoon, Dad’s breathing slowed down as the CD player began to play the final song.

Accompanied with his favourite sacred hymn: Silent Night, Dad took his final breath. After the doctor made the proclamation, my family joined hands around Dad and triumphantly finished the final chorus of Silent Night.

“Silent Night, Holy Night, all is calm, all is bright…Sleep in heavenly peace.”

The little drummer boy tree ornament now hangs on my family’s tree as my dad sleeps in heavenly peace. The legacy hymn of my Dad continues in my own spirit and each December when I hear, Silent Night, I remember my Dad and our ‘Christmas in September.’

The Brain On Music: A Dementia Perspective

Wed, 22 Nov 2017 18:14:00 GMT

“This song brings me so many emotions,” said Sally*, a long-term care resident who was listening to one of her all-time favourite pieces. Sally has dementia, and musical moments like this one have become highlights within her day-to-day routine.

I have witnessed Sally, among many other residents, find peace, joy, pain relief, happiness and love within their musical experiences. Music is an invaluable tool in long-term care. It connects people with memories, emotions, and with their loved ones. Out of all of our activities of daily living, music activates the most brain areas, which explains why music can have such powerful and diverse effects.

The effects of music begin in the brain, and from there, they project to all parts of our body and soul. Our ears detect sound waves from the environment, and use an encoding system of neurons that is 100 times more powerful than the one our eyes use to encode colours and shapes. Our auditory system is extremely precise. Once our ear has collected and encoded all the information from the airwaves, the coded information travels into our brain through a bundle of neurons appropriately named the auditory nerve. Once the information reaches our brain, it projects to many different areas, which are responsible for the effects of music.

The brain relies on neurons that connect and communicate with different areas in order to function properly. In dementia, neuronal communication is jeopardized, leading to symptoms such as memory and communication challenges. Interestingly, music is the last type of memory to deteriorate in dementia. Research shows that brains of individuals with dementia are able to respond to musical stimuli to a far greater degree than other brain networks, at the same stage of dementia. For example, an individual with dementia who is not able to recognize their children or spouse, quite often can sing every word to many songs from their youth. In this way, music can provide a moment of peace and familiarity in an otherwise unfamiliar world.

Even though we have not answered all the questions about music and the brain, we do have an opportunity to improve the quality of life of individuals living with dementia, through the use of music.

When we listen to music we love, the memory centres of our brain are stimulated. If a song you hear has ever transported you through time to re-create a certain memory, it is because the music triggered memory recall within your limbic system. This system is responsible for encoding our deepest and most primal memories. Playing familiar songs that are known to have positive associations can be a great way to engage individuals with dementia through memory recall, and subsequent discussions about that memory.

Music can also be used in dementia care to re-direct attention. For example, a care partner can easily hum or sing a familiar tune while bathing, feeding, or simply being present with an individual with dementia. Music activates the frontal lobe of the brain, which is responsible for attention. Familiar music can re-focus a person’s attention leading to a sense of relief.

Music has both biological and psychosocial effects. Sally benefits from the music used by her nurses, PSWs, and family members. When music is shared with Sally, she in turn shares it with other residents and care providers. It is this ripple effect, where music connects people within a space, which will change the culture of care in the long-term care setting. Music is free, and accessible to all, and has profound impacts on quality of life.

*Name has been changed

Chelsea Mackinnon, BHSc, MA, is Room 217’s research lead. She teaches two interdisciplinary undergraduate courses at McMaster University, and is the founder of the Hamilton Intergenerational Music Program.

Creating A Designated Music Room in a LTC: Stories from Music Care Training Grads

Mon, 30 Oct 2017 17:03:00 GMT

Meet Room 217 Directors of the Board

Fri, 13 Oct 2017 04:00:00 GMT

One of the strengths of the Room 217 Foundation is its Board of Directors. I am privileged and honoured to be working with truly great Canadians who believe with me and our whole team that music humanizes health care and can have profound impact in every human dimension.I’ve discovered all kinds of blog posts, written materials, on line resources about characteristics of a good Board. I love how the New Zealand Institute of Directors describes it:A board that truly adds value is not just a group of high performing individuals. A good board is a balanced team with complementary skill sets and a culture that allows them to work together to make the most effective decisions for an organisation. While the leadership from the chair is crucial, it is the full participation of every board member that contributes the most to the effectiveness of a board.In my experience with the Room 217 Board, we roll with folks who have a passion for our cause, that music matters and needs to become essential in care. Often, Board member’s personal care experiences shape this belief. At Room 217 Board meetings, strong opinions are aired, discussions and disagreements take place, all while maintaining mutual respect. In this way, we get stronger solutions, and in the long term, have a stronger organization. While some of our Board thinks strategically, others think operationally – we need both. As a young, growing social enterprise, our Board sees through governance eyes, encouraging best practice, accountability and compliance. I’ve learned that Board members’ contributions are not only financial. Generous sharing of talent and expertise, mentoring, opening doors, and encouragement go a long way.Meet the current Room 217 BoardBev Foster is the Executive Director of Room 217 Foundation

Dimensions of Music Care 10: Programming

Mon, 02 Oct 2017 14:41:00 GMT

In this final instalment of this blog series on the Ten Dimensions of Music Care Programming, we touch upon a dimension that is ripe with potential. Music can enhance recreational, educational and therapeutic programming in ways that are both obvious and subtle. In formal music programs, like singing groups, music appreciation clubs, and bell choirs, music is the centre focus. Music can also compliment programs that aren’t inherently music-focused – such as using music in gait therapy, or adding a musical component to a support group.

There are two main components for successfully bringing music into care programs:

This video went viral several years ago on YouTube. It features a group of seniors in an Ontario retirement community performing a lip-dub music video to the song Call Me Maybe. The skills it required were organizational and technical – no one had to master any musical instrument, they just had to plan out the video and be able to edit it (no small feat!). The imagination that went into the idea is truly brilliant. This project a) created a community-driven project that involved seniors and staff towards a common goal, b) promoted intergenerationalism by using a contemporary pop song, and c) inspired people around the world by showing a lighter side of life as an older adult in a care home.

What skills do you have to enhance your care programs with music, and better yet, what corners of your imagination are you willing to explore to dream up new ideas?

Dimensions of Music Care 9: Research

Tue, 12 Sep 2017 13:47:00 GMT

While many of us have seen the incredible influence of music, and truly believe in its importance, music is not yet an established pillar in the medical world. It is my belief that this will only change when sufficient research literature exists to support the use of music in care practices. Canadian health policy is influenced by evidence, and evidence is produced through rigorous research investigations. Rigorous research investigations in the use of music in health care is limited.

The quality and volume of scientific evidence required to change any health care practice is overwhelming. For example, consider the current gold standard treatment for meniscal tears. The meniscus is a piece of tissue that resides in your knee capsule, and is responsible for absorbing shock in the knee joint when you move. It plays an important role in the health of your knees. It is common for this tissue to tear between the ages of 45 and 65. In Canada and around the world, a surgery to remove the damaged meniscal tissue is the gold standard treatment. However, there are many studies that show little to no benefit of this surgery. These studies, between 50 and 100 in number, suggest that more conservative treatments like exercise and physiotherapy are just as effective as the surgery.

In June, a systematic review of the top research papers for meniscal knee surgery was published. A systematic review means that a group of authors compiles the results from the top-notch research papers on a subject. When the systematic review is published, a healthcare practice may change. The recent systematic review on meniscal knee surgery concluded that surgery does not provide any benefits over less invasive alternatives, such as physiotherapist-prescribed exercises and treatment.

In my music and health care journey, I have seen long-term care residents whose dementia medication dosages have been decreased simply by incorporating music into their daily routines. Using live or recorded music while bathing and dressing the residents significantly decreased their agitation during and after the care time. If I wanted to change current nursing and personal support worker practices to include music during these care times, I would have to produce 50 to 100 high quality studies showing the effectiveness of music during these daily routines that would need to go through the process of a systematic review. And even then, that might not be enough evidence to change practice.

Although the task of producing music and health research might sound daunting, it is important to note that many researchers, practitioners, and community members are on this journey together. It is organizations like Room 217 Foundation that come alongside educational institutions and regulating bodies like the Music Therapy Association of Ontario to cumulatively produce research evidence.

Canadian universities such as Toronto, McGill, Ryerson, Montréal, PEI, McMaster, Laurier, Western, Calgary and Edmonton are producing both laboratory controlled and care-centre validated research evidence. Room 217’s current focus is in front-line care settings, such as long-term care homes. Our goal is to conduct research while simultaneously changing the lives of current residents through music.

Music is a complex entity, with multiple applications in health care and has universal applicability to accomplish health-related goals. The biological and social properties of music can be used to target the isolation and loneliness of long-term care residents. Because we understand how music impacts the brain, it can be strategically applied to physiotherapy practices to improve movement-related outcomes. Music can be used in speech-therapy to improve speech production post-stroke, and used in autistic populations for language learning and information translation. Stimulating musical activities can be used to improve cognition following a brain injury.

Despite the compelling case studies and preliminary research reports, in the field of music and health, we are still in the grass roots stages of compiling evidence. Many more high-quality studies will need to be conducted before we can fully integrate music into our Canadian health care system. In the meantime, it is important for each of us to continue to advocate for the use of music in health care practices, and to educate others on the therapeutic power of music.

This post is written by Room 217’s new Research Coordinator, Chelsea McKinnon. In this post, Chelsea makes a case for the importance of more evidence-based music care research.

Dimensions of Music Care Part 8: Music Therapy

Mon, 24 Jul 2017 15:52:00 GMT

Questions to help guide you to your desired music therapist include but are not limited to:

This excerpt was taken from Jennifer Buchanan’s Book Tune In: Use Music Intentionally to Curb Stress, Boost Mood and Restore Health

Dimensions of Music Care Part 7: Training

Wed, 14 Jun 2017 16:05:00 GMT

The third cohort of Level 3 Music Care Training students just completed their program in April, culminating with an Intensive Day in Calgary that was inspiring, thought-provoking, and celebratory.

Peter Exner was part of this cohort, and he shares his story, below, about how the MCT program gave him direction and focus in his musical work with seniors. Peter is just one of many folks who was already using music intuitively in care settings, but knew there was something more they could be doing. The training helped Peter better understand the impact of music on the whole person, and refined his approach to how he delivers his music programs.

It’s a wonderful example of how the training can help people who are already using music, to use it with greater impact.

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Roughly three years ago, the nursing home where my grandma lives approached me and asked if I would be interested in preparing an hour of music for their residents. I had already been playing the piano for my grandma, but nothing scheduled or organized. Without much thought, and with my grandma beside me, I said “Yes, of course!”

Little did I know that after crashing and burning through my first hour of music in a noisy, unwelcoming cafeteria, I’d now be filling my days building and delivering music programs to seniors using the Music Care approach as my guiding light.

That first day was rough. To prepare for it, I’d pulled out my Royal Conservatory of Music books grade 1-10, and I started banging out everything I’d learned. My repertoire would have to be near perfect, and I would need to get from one song to the next as efficiently as possible so I wouldn’t look lazy up there in front of my audience. I managed to pull a few random selections together, and off I went to the nursing home.

After a brief introduction, I started playing the piano for the residents. The seat they gave me was so high I had to take my shoes off to get my knees under the keys. Caregivers were walking and rolling people everywhere, and …the oxygen alarms!

It was one of the longest hours of my life. After about 30 minutes people didn’t even bother clapping anymore. At 45 minutes I was out of music. I looked over at grandma, she was furiously waving her hands up at me in circles – “Play that song you played for me the other day”… Teddy Bears Picnic? Really? That’s crazy talk, these are senior citizens, I thought.

But guess what, grandma was right. Oxygen alarms or not, that song brought the house down. People moved. People smiled. People clapped. People SANG!

I felt both humiliated and deeply moved by my 57 minutes of pain followed by 3 minutes of fame. I knew I needed to figure out what had happened. I did some research and attended my first Music Care Conference. Riding the high of meeting other musicians, rec therapists, and music therapists, all interested in how music could support their care, I enrolled in the Music Care Training Program.

Level 1 asked some very basic questions; why music? Why care? Ideas, activities, stories, everything started bubbling to the surface. Why was I trying to program an hour of perfected classical music?

Not only did Level 1 provide me with the framework to understand what I needed to do, but it helped me develop my toolbox for the care context I was in. My Music Care Initiative (MCI) was born and off I went.

The following year was Level 2. I focused on implementing music care programs into my care setting and building my skills as a music care advocate. We looked at the whole person and identified that not only do we have many different needs but many different stories and experiences that have made us who we are today. I built my first playlist for self-care and then got to work on playlists for others. With the help of my local library, I had music coming out of my ears.

Level 2 helped me figure out how to present my programs as musical stories to an audience, rather just playing notes on the piano on autopilot. Stories attached to music allowed me to set the stage so I could safely take a group on a journey outside of their seats and out into the world. This was an important revelation knowing that no two people hear the same song the same way. At the end of Level 2, I made an update to my MCI to better focus where I was headed, and off I went for another year of practice.

The final step, Level 3, was in some ways the finishing touch for my music program, but also the beginning as I push my program out to the community. Two achievements stand out for me today.

First, I tightened up my music program. An hour of music begins with a warm up, a welcome, and then a discussion about the themes of music I will present. More often than not local news usually make its way into a playlist. I’ve even built in time for people to come and go during a session as well as time to debrief and give receive feedback.

Second, Level 3 helped me solidify on paper what I do, how I do it, and what I’m going to do with it. (It’s hard to fluff your way through this level!) Presenting a complete portfolio and plan of action to finish this course gave me a certificate of completion, but more importantly, it gave me a path to follow. A path to build, offer, and deliver my music programs thoughtfully and successfully with the support of the Music Care approach.

Peter Exner is a musician and choir director based in Calgary, AB. He has completed all 3 levels of Music Care Training through the Room 217 Foundation and is a proud Music Care Advocate. Contact Peter at Peter.exner@telus.net

Dimensions of Music Care Part 6: Music Medicine

Mon, 15 May 2017 15:55:00 GMT

Admittedly, music medicine is the domain of music care I often struggle to explain the most . This is likely because, like most people, my use of music is mostly based on feelings, mood, and human connection.

In my scope of practice, I use music as a relational intervention; the therapeutic impact of the music is the result of the relationship between me (the therapist), the client(s), and the music itself (ie. choices of timbre, melody, harmony, rhythm, tempo, etc.).

This relational approach is how most people engage with music for their own wellbeing. Whether we’re picking songs for a workout playlist, selecting music for a wedding ceremony, or singing to an infant, we’re focusing more on how we want the music to make us feel than we are on what its physiological impact may be.

And yet, there are always physical responses to feeling-states. The workout playlist that gets us excited will also help us run faster; the wedding music that reaches our hearts will also make us cry; the sweet lullaby we sing to our beloved baby will also put them to sleep. It is a combination of the human relationship, and the physical impact of the music, that produces these results.

In music medicine practices, these physical impacts of music are the sole focus of the interventions. While relationship between a music medicine clinician and the client may be valuable, it is not essential to the intervention’s success. The music is administered just as a prescription drug, or medical procedure – based on empirical evidence that it will create a type of physical change.

This approach may sound cold to some, as it seems to bypass that very personalized, even mystical quality of music that makes it such a cherished human language. And yet, when we start exploring the scientific evidence on music’s impact on bodies, the doors this new branch of research opens are just thrilling.

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I know of no better online resource for introducing this concept than this video, linked below, featuring Dr. Lee Bartel. As he makes the distinction between music therapy and music medicine, he goes on to explain, with simple clarity, the way the brain works, the impact of brain injuries, and the unique power music can have to recover from them.

While most music medicine approaches are generally administered by skilled professionals, as with any other prescriptive practice, this research is promising for the future of medicine that incorporates this effective and non-invasive use of music for recovery.

Dimensions of Music Care Part 5: Music Technology

Mon, 15 May 2017 15:39:00 GMT

Thanks to easy Instagram filters, more people feel like confident photographers. Thanks to free recording apps like GarageBand, more folks can run a home recording studio. Thanks to blogging platforms like Wordpress and Blogspot, becoming a self-published writer has never been easier. Thanks to playlist apps Songza, more folks feel confident DJing background music for an event.

These digital tools are empowering, and for people with access to computers, tablets and the Internet, they make art and media accessible.

Digital accessibility has a cost, of course. In a climate where a simple Spotify subscription gets you unlimited digital music, vinyl is making a huge comeback. While digital recording software is cheaper and more effective than ever, many artists opt to record onto analogue tape in costly studios. I won’t be surprised if we soon find community-based dark rooms popping up in response to a resurgence of film photography.

For those of us using music in care, technology can be our best friend and our worst enemy.

This list of apps , compiled by music therapist John Mews, is a wonderful resource for people looking to enhance their use of music with apps. This list is long and diverse – just reading the app-names alone is inspiring and even a bit overwhelming. (John is one of our featured speakers for the 2017-18 Music Care Webinar series.)

The music care approach is always, by necessity, rooted in the caring relationship. Apps are wonderful resources when they can support this relationship. Apps cannot substitute human relationships. They cannot respond to subtle emotional cues. Apps can provide activities and sound. They cannot provide empathy.

Some of the easiest-to-use music technology programs are streaming services. These range from free playlist programs like Songza, advertisement-based streaming apps like Youtube and Vimeo, to subscription-based services like GooglePlay, Apple Music and Spotify.

The fact that we can hear almost any piece of music ever recorded, for free or for a small fee, with a simple click of a mouse, is truly remarkable. There are amazing consequences for caregiving. There are also challenges.

For example, with playlist programs like Songza, we risk using a one-size-fits-all approach to music care. Songza is a playlist app with hundreds of customized music programs for endless occasions. The titles you can pick from are specific and quirky: “afternoon nap,” “cocktail party,” “power yoga,” or “American campfire” are just some examples. There are limitations to the app – you can’t scroll through the songs in the same way you would on a personalized playlist.

Songza is an easy way to access thematic music that’s been pre-screened for a certain mood, ambiance, or audience. It’s a quick way to introduce some background music into a context.

However, it’s not personalized. Someone else has done the music-picking for you. There is no one-size-fits-all music playlist for anyone or any situation. With a randomized playlist picked by someone else, you lose the opportunity to make a personalized impact with song choices.

Furthermore, a randomized playlist can create contrary aims. I’ve experienced this in both care settings, where the mood of a playlist ended up triggering clients with songs they were not expecting. I’ve stopped attending a particular yoga class because the instructor always played Songza playlists that were “yoga themed,” but that I found totally incongruous to the poses we were doing, to the point that it distracted me from the practice.

When picking a playlist for a care setting, it’s helpful to reflect on how the music might pull people in different places. The more the music can align with our overall goals of care, the better. Playlists are powerful tools for supporting caring relationships, and we lose that power by resorting to an app-based music program.

A final thought on digital music: is important to know that, even with paid services like Spotify or Apple Music, artists barely get paid peanuts. The only way you can ensure that an artist is getting compensated for their music properly is to buy albums directly from them, or at least through a third-party like iTunes or Bandcamp. Recording music is expensive, laborious, and consuming, and the results of this hard work shouldn’t be given away for free.

So, let’s keep finding ways to make technology work for us and with us, while always keeping relationships at the centre of our music care.

Dimensions of Music Care Part 4: Musicking

Wed, 08 Mar 2017 15:46:00 GMT

In this, our fourth installment of this blog series on the ten dimensions of music care, we look at musicking. Musicking refers to spontaneous music-making, but it comes from a deeper theory that music is an action that always involves all people. Whether we are listening to a song on the radio, performing on a stage, ripping tickets at the Met Opera, hitting record in the studio, dancing to the horah, or enjoying the busker in the subway, we are all engaged in musicking. It is an inclusive, relational act.

During the Music Care Trainings, we have fourteen hours of content to cover in two days. That intensity can be daunting for an instructor, as well as a participant. Sitting and listening to someone instruct for fourteen hours straight on the value of music in care would be impossible. These are concepts that must be experienced.

I was trained in an approach to music therapy called “music centered psychotherapy.” In this approach, we are called to deeply trust that the music alone can create the therapeutic change, if we use it skillfully, carefully, and wisely.

So as an instructor of the Music Care Training, I’m constantly looking for moments where musicking as a group can teach the content.

“Musicking” is a wonderful word, coined by ethnomusicologist Christopher Small, to describe music as an action.

Most of us make choices about whether or not to “music,” on a regular basis, and for reasons and for various roles. Film editors may be thinking about when a scene calls for scored film music; a yoga instructor may think about when the class calls for some recorded music; a person driving home from a long day at work may ask themselves whether their car ride merits a particular playlist, or simply the silence of one’s own thoughts; an athlete may wonder whether to train to music today, and if so, which music.

I try to go in and out of musicking as much as possible during these Trainings, as well as in more therapy-based groups I facilitate. Signs for me that it’s time for musicking I look for are:
- I’m getting sleepy
- I’m depending too heavily on words to explain a point
- I’m becoming too “teacher-y”
- There’s a felt sense in the room that we could go deeper into an experience
- We’ve been sitting for far too long

Then the question becomes – what kind of musicking?
- Will we listen to a recording of a song that someone is sharing that is significant to them?
- Will we do something silly and fun to lighten the mood, break the ice, and make the energy more buoyant?
- Will we do something mindful and peaceful for focus, attunement, and non-verbal connection?
- Will we do a dyad – where two people improvise together while the room holds the space?

By musicking together, it energizes us. As an instructor (and therapist), I experience less of the fatigue that can come from lecturing or talking too much about an idea, or anxiously trying to establish and hold a therapeutic rapport. It connects the us as a whole, and it gives us a shared embodied experience.

Thinking about music as a verb is a great way of understanding its power to transform lives and relationships. “Musicking,” to me, is like running – it’s a feeling, experience, and process. I know what I feel like before, during, and after running – it changes all of me, mind and body. Similarly, I know how I am when I’m “in music” from when I’m not. It changes me, and changes the space around me.

Musicking is also like breathing: it happens subtly and unconsciously. We may have music stuck in our head, or music playing in the background at work. And just as a deep breath or sigh may signify to a loved one that we are there with them, so may a sudden drop into musicking communicate presence and change the space. Spontaneously singing an upset child a lullaby, or asking a friend in distress if you can play them a recorded song we think might speak to them, or singing to ourselves in the shower or the car, are all ways that we can breathe into musicking. These moments aren’t programmed or pre-meditated; they arise from our instincts and change us.

Thinking about music as a verb invites us to think of music as life itself – ever evolving, always in process, always in relationship. It’s a living, breathing tool for caregiving.

Sarah Pearson is a music therapist working in oncology and palliative care in Kitchener, ON . She is the Program Development Coordinator for the Room 217 Foundation and Lead Facilitator of the Music Care Training program.

Dimensions of Music Care Part 3: Community Music

Wed, 15 Feb 2017 16:01:00 GMT

One of big markers of culture change in health care is the focus on de-institutionalization. As care culture slowly transitions from the medical model to relational and person-centered models of care, more services are offered in the community, and more emphasis is put on keeping people out of institutions.

But institutions remain, out of necessity. There are still hospitals and nursing homes, hospices and psychiatric residences. Making these facilities connected to the wider community, rather than segregated from it, is part of how institutions respond to a changing culture of care. For example, open-concept building design for new or pre-fab facilities reflects a message that these institutions are connected to the community, and are stigma-free. Similarly, access to community-based music is a beautiful way of creating a more open facility, and also creating instant opportunities for relationship-based care.

One of my favourite programs at the hospital where I work is the relationship we have developed with the Kitchener-Waterloo Symphony .

The KWS runs an outreach program where, through generous sponsorships, they are able to send small groups of musicians into various health care facilities to play concerts. For the past year and a half, the KWS has made afternoon musical visits to our hospital. On these days, two string players play short programs – 20-30 minutes, in various parts of the hospital. They play in the main entrance and in small communal spaces on the hospital wards. Patients, families, and staff gather to listen and chat with the musicians between pieces.

Thanks to both the music therapy program at the hospital, and the work of a few wonderful volunteers, live music is already a regular occurrence in the hospital. However, there’s a special, unique feel to these KWS visits.

Having professional-level performances in the clinical space adds a layer of beauty and experience that is unusual and unlikely for a hospital. This can make the music all the more impactful to the listeners. The musicians themselves have always expressed how rewarding it is to play in the hospital – they get to interact with their listeners in a more casual way than they ever do in a concert hall, and they see the direct emotional impact their playing has on people going through tough times. They experience the relationship-building quality of music-making in a deeper way than the traditional classical concert experience usually affords.

Furthermore, there is an outside-inside benefit that takes place, which seems to make their playing all the more meaningful to the hospital community. Knowing that the musicians are formally coming from an outside music organization, into the hospital, feels connective. We are reminded that the hospital is a part of the wider community. We are reminded that we are more than patients, staff, visitors of the sick – we are people.

Creating community music programs within a facility doesn’t need to be hard. So many musicians in the community are searching for opportunities to perform. Here are a few suggestions:

Dimensions of Music Care Part 2: Music Care Specialities

Wed, 18 Jan 2017 21:14:00 GMT

“What is willing to meet me?” This is the question the International Harp Therapy Program invites its practitioners to ask at the bedside of each and every patient. It’s a question that, in my experience as a harp therapist, sometimes has surprising answers, answers that my thinking brain may try to reject as senseless, yet that in my experience are almost always stunningly accurate.

They include…the dying man who moaned in A just after I received the odd-seeming answer that I should play A for him on the harp. When I played other notes, he became agitated; when I softly played A octaves on my harp, he relaxed and his breathing rate decreased from 20 to 14 breaths per minute.

They include the end-stage kidney disease patient who had not awakened in two days, who opened her eyes and smiled at her daughter after the answer came to me to play Chinese folk music.

They include the stoic lung cancer patient silently grappling with her own mortality, who broke down in tears after I received the answer “À la claire fontaine,” played the song and it turned out her mother used to sing that song for her.

Therapeutic harp was developed concurrently in the 1980s by Christina Tourin with the International Harp Therapy Program and Laurie Riley and the Music for Healing and Transition Program. Today, those two programs, plus a third, Harp for Healing, are certified under the auspices of the U.S.-based National Standards Board for Therapeutic Musicians.

The term “therapeutic musician” was created when vocalists and other instrumentalists became interested in playing live music at bedside in the same manner as therapeutic harp practitioners. IHTP only accepts harpists, while Harp for Healing and MHTP accept all appropriate bedside instruments. There are also a few independent training programs which are not affiliated with the NSBTM, some of which accept only harps and others of which accept other instruments.

Although it is a fairly new concept to most people, therapeutic harp has ancient roots. Historically, the harp was used for healing and to accompany the dying in Mesopotamia, Egypt and Greece, as well as medieval Europe. Therapeutic harp also has a more modern link to music therapy: The first comprehensive institutional therapy program in the United States was developed by harpist Willem Van de Wall at Allentown State Hospital in Allentown, PA.

Therapeutic music consists of offering live music to patients at bedside, customizing the music to the patient’s mood, resonant tone and breathing patterns. Different programs teach different ways of creating this prescriptive music. While Harp for Healing focuses strongly on rhythms (pulse tempo, arrhythmic) and categories of music (familiar, unfamiliar), the International Harp Therapy Program focuses on modal music and modulation. Music for Healing and Transition suggests different kinds of music for different types of patients.

Unlike music therapy, a basic certification in therapeutic music is not a degree program. It is more comparable, time-wise, to a 200-hour yoga teacher training. The student completes around 200 hours of self-guided work and a 45-hour internship, and must accrue 10 CEUs per year to maintain certification.

However, a large majority of practitioners come to the work later in life and have undergraduate and graduate degrees. Many have clinical backgrounds in such fields as nursing, social work, psychology, medicine, occupational therapy and speech therapy. Others have advanced degrees in music pedagogy and performance. My own BA is in modern languages (French, Spanish, Italian, Portuguese and German), all of which have proved to be very useful in the multilingual and multicultural hospitals I serve!

In addition to the basic NSBTM trainings in therapeutic music and the IHTP Level 2, there is an advanced therapeutic harp modality known as Vibroacoustic Harp Therapy or VAHT. A larger harp (at least 36 strings) is needed for VAHT as well as a special chair or mat through which a vibrotactile device amplifies the harp music, creating a powerful, direct and immediate effect. A basic therapeutic harp practitioner designation or equivalent training/experience is prerequisite for the training.

VAHT has a uniquely Canadian angle. In 2007, Hawkesbury General Hospital in Ontario became the first hospital in North America to offer the modality through VAHT practitioner Ian Hepburn.

Another harp-based training program which focuses solely on hospice and palliative care patients is music thanatology, which, while it uses harp along with voice to provide prescriptive music for patients, presents a different perspective and curriculum than that of therapeutic music. It’s also a degree program, one that lasts two years and includes a large focus on medical texts and terminology. It is inspired by medieval musical accompaniment of the dying practiced by monks at the l’Abbaye de Cluny in France.

Now that music therapy is happily so widely known, I find myself explaining the difference between music therapy and what I do as a therapeutic music practitioner to patients, visitors, staff and prospective employers very frequently – on an average of four times per hospital shift!

All NSBTM program graduates are required to do this when they present their work to the employers and the patients they serve. To me, it’s an opportunity to educate people and help to make therapeutic music as well known as music therapy.

I like to tell people that it’s similar to the difference between a physical therapist and a massage therapist. Both of those therapists use physical manipulation. However, a physical therapist’s work is goal-oriented and a specific treatment plan is set out. A massage therapist’s work is to promote relaxation and well-being. While the music therapist’s work is like the physical therapist’s, focusing on goals and treatment, mine is like the massage therapist’s, focusing on relaxation and well-being.

Therapeutic music as practiced by a NSBTM basic practitioner has three main purposes: to relieve pain, reduce anxiety and promote restful sleep. Because it is primarily not an interactive therapy (although IHTP does teach some interactive work), it is especially well-suited to non-verbal, autistic, memory-challenged, and comatose patients, to name but a few. The practitioner practices inclusive attention (the art of being attentive to the patient) and altering the elements of the live music she plays such as tempo, mode and key signature in response to the patient’s mood and body rhythms.

Experienced practitioners have used therapeutic music to address conditions as mysterious and sometimes frustrating as autism and fibromyalgia. Ontario VAHT practitioner Ian Hepburn in published a study in 2010 about the effects of VAHT on fibromyalgia patients. After 10 sessions of VAHT with 20 fibromyalgia patients, 10% had no benefit; 80% had benefits ranging from the elimination of constipation, improved sleep, and the reduction of pain and pain medication; 10% had a complete reduction of all symptoms up to 2 years later. Both he and Laurence Marie, my IHTP mentor and VAHT practitioner in New Brunswick, have had great results using therapeutic harp with children with ADD, ADHD, autism spectrum and OCD.

Ideally, a facility would have both music therapists (MTs) and therapeutic musicians (TMs). The two clinicians can give each other a great deal of support and a TM can often act as a handmaiden for an MT’s work by using certain music, scales or rhythms identified by the MT. I am fortunate that one of my facilities has a music therapist and we are able to share information with each other for the benefit of our shared patients. Learning from each other that a child responds well to a certain genre of music or what some of her favourite songs are can save hours of time in finding the best music to work for our respective purposes.

Therapeutic music is growing quickly in the field of hospice and palliative care, as we as a society have begun to question how we die and how we can make it a more peaceful and meaningful time, filled with quality right up to the end. It is my hope that music therapists, therapeutic musicians and music thanatologists, along with the many non-therapeutic musicians who fill common hospital spaces with their beautiful music, can walk together hand in hand as we accompany our patients with dignity, direction, purpose and grace.

National Standards Board for Therapeutic Musicians www.nsbtm.org

Harp Therapy Journal www.harptherapyjournal.com/

Hannah Roberts Brockow, CCM, is a therapeutic harp practitioner in the palliative care unit at CHUM Hôtel-Dieu, a historic general hospital in downtown Montréal, and at the children’s palliative care centre Le Phare Enfants et Familles. She is a graduate of the National Standards Board for Therapeutic Musicians-accredited (NSTBM) Harp for Healing program and currently studying in the NSBTM-accredited International Harp Therapy Program to obtain her CHTP Hospice designation, and plans to obtain her VAHT certification thereafter. Visit her online at www.hannahrobertsbrockow.com or Harp by Hannah on Facebook.

Comfort and Joy: Treading cautiously with Christmas Music

Thu, 08 Dec 2016 14:55:00 GMT

Christmas music can trigger sadness and grief-related emotions as much as it can invoke joy and nostalgia. Here are a few considerations for incorporating Christmas music into care practice:

Now that I’ve sufficiently warned against the dangers of playing Christmas music in care settings, I’d like to end on a positive note. At this time of year, I’m often going room to room at the hospital simply taking requests for old-time carols. The music seems to bring comfort and grace to people in a way that truly makes me humble to do this work. Here are my top 5 favourite Christmas songs to play at the bedside, and why:

Dimensions of Music Care Part 1: Sound Environments

Thu, 17 Nov 2016 19:42:00 GMT

When it comes to creating supportive, health-promoting environments, sound is one of the most impactful, and easiest-to-ignore factors. “Sound environment” is one of the ten dimensions of music care, and an entire module in the Music Care Training is dedicated to sound environment awareness.

For people working in the medical system, many of our care environments are chock-full of unnecessary noise: aggressive-sounding call bells, non-urgent alarm bells, beeping machines, loud conversations of staff, televisions, cleaning machines, top-40 radio, not to mention the human sounds of pain, suffering, and fear. These sound environments are exhausting. They wear on the nervous system. But we don’t take long to adapt to the stress they produce.

We got to hear from an expert on this subject at this fall’s Music Care Conference in Toronto. Dr. Susan Mazer is a pioneer in creating positive sound environments in hospitals. A harpist by training, her company Healing Healthcare Systems provides evidence-based audio products and services for improving sound environments. The most notable product, the “C.A.R.E. Channel,” is an audio program designed to work ambiently within hospital rooms to address and transform harmful noise. Plenty of free information on how to improve sound environments is available on the Healing Healthcare website. Dr. Mazer offers step-by-step tips on addressing sound issues in health care settings and making lasting change.

Reflecting on our sound environments can be an empowering and manageable way to drastically alter our wellbeing through music care. Jennifer Buchanan from JB Music Therapy discusses this, through encouraging her clients and readers to create a discerning “ auditory diet .” She offers these wise considerations about noise: “diets aren’t always about giving something up, they are about adding something in.”

Creating the optimal sound environment doesn’t have to be about creating silence (ie. an “elimination diet). In fact, Dr. Mazer shows evidence of how silence can increase feelings of isolation.

The science and psychology of sound environments is deep, though I offer up a few simple considerations if you want to change your sound environment in a hospital:

Oftentimes in my role as a hospital-based music therapist, patients in a noisy room will be doubtful that a music therapy session could possibly be beneficial in such a loud environment. Once we get going, the music we create ends up focusing our ears away from the harmful noise and softens the overall sound environment. Sound environments are powerful, and yet we don’t always notice them until they change. Even the smallest changes to sound environments can have the biggest impact. We can all experiment with this, and we can all benefit from deepening our awareness of the sounds around us.

Susan Mazer will be the featured speaker of the Music Care Webinar on January 11 ^th , 2017. Click here to register for free.

From Magic to Method: Getting Specific about the Language of Music Care

Thu, 03 Nov 2016 20:05:00 GMT

There is a transcendence that comes from a personal care aid suddenly humming “Moon River” with a resident with advanced dementia, who has been in distress for hours until the familiar melody invites him to hum along. There is a mysteriousness when a family gathers around the bedside of their dying loved one and sings old family songs. There is something miraculous about a teenager with debilitating depression who comes to life when she plays a song she wrote on the guitar.

It’s also hard to define what exactly happens sometimes. It’s hard to know what to call it. And it’s often unclear what to call the people who facilitate these experiences. Are they experts? Practitioners? Specialists? Or simply people who have an awareness of music and how they can use it to strengthen relationships?

Room 217’s article 10 Domains of Music Care: A Framework for Delivering Music in Canadian Healthcare Settings was published last month in the Music and Medicine journal and we hope, it is going to make this gray area a lot clearer.

In the past year at Room 217, we’ve devoted ourselves to helping clarify the language of music in care. Thanks to media coverage and a growing evidence-base of research, most medical professionals need little convincing that music can play a vital role in health care. Yet there is a discrepancy between how music is valued in health care, and how much it’s used.

Based on some preliminary research Room 217 has conducted, this discrepancy is mainly a confidence issue. So, our Music Care Training program seeks to fill in that gap and give caregivers both confidence and competence to use music to the best of their abilities, where it fits their scope.

But with so many ways to practice music care, defining roles can be confusing.

Since music can be integrated across so many domains of care – from nurses humming with patients to music therapists running one-to-one sessions, to social service workers organizing coffee house nights to symphony musicians playing string trios in a hospice – there is a need to get specific in our health care contexts about what specific practice is being used.

Language can be confusing too. So often in the media and in health care contexts, the words “music therapy” are used to describe any therapeutic use of music. This language is simply inaccurate. In Canada, music therapy is an accredited scope of practice requiring a minimum of four years of university training and a 1000 hour internship. It’s not that music therapists do something better or worse than other people using music in care; it’s just that music therapy refers to one specific approach. Even in my own workplace, volunteer musicians are sometimes referred to as providing “music therapy” – a misunderstanding that can complicate roles and public perceptions for everyone.

While the language confusion can be frustrating for practitioners, it also makes sense, given how little clarification exists in the literature and in health care communities about different music care approaches.

Having some framework for locating different practices within music care seems necessary and timely. The Room 217’s music care framework consists of ten domains that can help us clarify what musical consideration is being made, who is making it, and what their role is in the circle of care. Having this framework in the literature will hopefully only make these gray areas clearer, and ultimately help advocate for more music being used - used in diverse ways, used ethically, and used by a broad scope of professionals, volunteers and family members.

Music care is an approach, not a practice. It can be embraced by many different practices, and we want to empower people to use music to the best of their abilities, and within the ethical container of their roles. With the right language, we can better leverage that magic of music care by fitting it into the practical methodology of our caregiving roles.

Join us for the annual Music Care Conference in Toronto on November 12th, where each of the ten domains will be explored in depth through presentations by experts, and hands-on experience of music.

Music, Dementia, and Meaningful Moments: a Room 217 staff member’s story

Wed, 12 Oct 2016 16:18:00 GMT

By trade I’m a journalist. As a health reporter with one of Metroland’s papers , a generative journalist with Axiom News (writing for long-term care and inclusion movement clients) and as the writer/editor of CAPS , an independent community paper, I’ve met and interviewed many people who, I’ve come to find out, use Room 217 resources in their workplaces.

It was because of Axiom News and the Ontario Long Term Care Association’s Morning Report that I first ever heard of Room 217 and Bev Foster, executive director. The Morning Report carried a piece about the Music Care Conference being held in the fall of 2011, with mention that Room 217 was located in Port Perry. That town was in the coverage area of the newspaper I was writing for, so I tucked Bev’s contact info away, and followed up with her after the conference was over.

She and I met on Nov. 28, 2011 at a local Tim Horton’s so I could get information for a feature story on Room 217. We spent a few hours chatting about her work and the incredible back story of Room 217, and how I was juggling a sick husband, three children, two jobs and a Dad with Alzheimer’s. This lovely woman and the conviction in what she was doing impressed me.

She’d given me two CDs to listen to, so I could get a feel for how Room 217 music was produced, and so I could experience it for myself.

I got home from that interview, put on one of the CDs ( Old Chestnuts ) in my player and began dinner preparation. As was his custom, my Dad, who lived with us, was sitting at the kitchen table, flipping through the newspaper, and we chatted about our day.

When La Vie en Rose came on, my Dad started singing. I’d heard him sing before; usually just bits of his favourite songs or little ditties that humoured him (and us!) But that day he sang La Vie en Rose . Surprised, I asked him how he knew that song. He told me that his Mom – my Francophone Grandma Dupuis – often played it on the gramophone in their home.

That led to conversation about his childhood growing up in the Beaches, his days in school, his friends, and his parents. Though I’d heard the stories before, dementia had been ever so slowly robbing us of the man who had been our Dad and Papa. Those few minutes of music awakened memories and triggered discussions that otherwise wouldn’t have happened.

As they say in the MasterCard commercials, Room 217 CD: $20. The conversation that follows: priceless.

Deb Bartlett is the Revenue Development Co-ordinator for Room 217.

Inspiring, Informative, Unforgettable: A Sneak Peak at the Music Care Conference Toronto 2016

Mon, 26 Sep 2016 14:37:00 GMT

The Music Care Conference is a special day in the year. It’s a unique conference that merges expertise with experience, knowledge with networking, and thinking with feeling. Every year a new conference program is carefully curated to both deliver world-class research in music care, as well as to connect each participant to their own relationship to music. This one-day conference brings together experts in the fields of health, music and caregiving, who share their knowledge and experiences with members of Room 217’s learning community. Attendees typically include allied healthcare providers, family and volunteer caregivers, care receivers, musicians, faith-based and community agencies, and students.

This year’s Toronto Music Care Conference is taking place on November 12th, at the University of Toronto’s Faculty of Music, and early-bird registration closes on September 25th. The day will open with a welcome plenary from Dr. Michael Thaut, a co-founder of the evidence-based treatment system of neurologic music therapy.

Throughout the day, Dr. Michael Thaut will present on a St. Michael’s Hospital study on where music memories are found. Dr. Corene Thaut will present on neurologic music therapy, a treatment which she co-founded, that uses musical interventions with people who have experienced stroke, brain injury, Parkinson’s disease, cerebral palsy, Alzheimer’s disease, and other diseases affecting movement and communication.

The impact of the environment on patient experience will be discussed by Dr. Susan Mazer, co-founder of Healing HealthCare Systems. Dr. Mazer, whose work began in hospitals as a performing musician, has gone on to develop this innovative approach to understanding all the auditory events that affect a patient. Dr. Mazer has written articles and whitepapers for journals and periodicals focusing on noise in hospitals, speech privacy, patient, safety, elder care and other topics.

Kristine Theurer will present on her approach to building peer support amongst residents in long term care. She has developed the Java Group Programs , which encourages peer relationships among residents and works to offset loneliness and isolation.

Other presentations will include exploring the dimensions of music care by Bev Foster, a global landscape of music therapy by Dr. Amy Clements-Cortes, and Sing It Girls , a program for girls who worry, by Adrienne Pringle. Performances include an opening by the University of Toronto’s Klezmer Ensemble, and a closing performance by the Juno-award winning Toronto Mass Choir .

I attended my very first Music Care Conference in 2011, during my first semester of a Master’s in Music Therapy. That one day was both inspiring and informative, and I remember floating home from it with a renewed conviction for my vocational path. I’ll never forget the closing concert with Steven Page, and the flood of emotion as he told the story behind his iconic song “Brian Wilson” and then started to strum the opening chords.

MCC never fails at being powerful, inspiring and unforgettable.

What Gord Downie’s Farewell Tour Can Teach Canadians About Palliative Care

Wed, 31 Aug 2016 16:35:00 GMT

Many important fundraising initiatives came out of the Farewell Concert too. The band donated some of their concert revenue to the Sunnybrook Hospital where Downie is receiving treatment. Communities across the country collected donations for the Canadian Cancer Society at free screenings of the show. The Gord Downie Fund for Brain Cancer Research is an exciting outcome of the legendary singer’s diagnosis, and it will no doubt make a difference in understanding treatment for this disease. The cancer centre where I work was a generous recipient of many local fundraising drives related to Hip events.

But one glaringly obvious fundraising cause that I didn’t see was the one that probably made the whole miraculous farewell tour possible: palliative care .

In the palliative approach to medicine, the medical team listens to the patient and their families about what matters most to them. They build treatment plans according to the patient’s goals. Their goal may be to make it to their daughter’s wedding in seven months. It may be to avoid pain at all costs. It may be to avoid hospitalization, or to die at home. It may be to continue to treat the disease by any means necessary. A good palliative care professional will listen closely to the person and educate them on all their options. They will take equal consideration to the person’s physical, emotional, spiritual and social needs. They will agree upon a treatment plan from there, and adjust it as needed. They will maintain a relationship throughout their journey with the disease. And the evidence shows that with this approach, people live longer.

Palliative care professionals also support people to create legacies, complete important relationships in their lives, and reflect on any unfinished business so that they can die peacefully. No human life is meant to go on forever. And yet until recently, our medical system has done everything in its power to completely avoid the possibility of death at all costs. “Dying well” is a strange-sounding concept to many, and yet dying well is one of the most important life skills we can ever develop. It is a concept, and a skill, that Gord Downie has mastered.

There is no way Gord Downie could have done this tour without some adjustment to his treatment. His oncologist, who travelled with him on the tour , has been supporting him medically to make possible what matters to Gord. There is a likely chance that Downie abstained from treatments that might have delayed disease progression in order to be well enough to do this tour. In other words, there is a chance that he may have opted to lose months of his life, in order to live his life with purpose.

The journalist in my local newspaper who covered the Hip concert ended his review of the event with a sentence that, as someone working in supportive oncology and palliative care, made me wince a little bit:

“Battle on, Gord. The fight isn’t over yet.”

I’d say that, whatever happens with Gord’s cancer, he’s won the battle already. He has given his nation an example of living gloriously, making every moment matter.

John's song

Tue, 09 Aug 2016 16:00:00 GMT

john: alone…but not for long…it just took one song.

For those faced with a difficult life circumstance, we know that music can provide the needed space to help that person focus— focus on something else besides the issue or situation at hand. By using music to focus, oftentimes the person can find some clarity about their situation.

When I was referred to a patient on the mental health inpatient unit at the local hospital as one would expect, I went to the unit anticipating I would be working with someone coping with depression or psychosis. What I didn’t expect was a six-foot tall eighteen-year-old boy who looked scared. He was curled up in his bed.

Before entering his room the staff gave me a brief description of what they were experiencing: physical outbursts such as banging on walls, no verbal communication, and many obsessive behaviours including repetitive spinning and stripping to nakedness. He was just a scared boy with autism. My referral came from the nurse who felt badly that the boy was misplaced in the healthcare system. The unit he was supposed to be on would not have a bed available for another week. When I arrived I found John in a brightly lit, stark white, windowless room with a guard outside his door. I was told the guard was placed there just in case his physical outbursts got out of control.

The guard audibly snickered when he saw my guitar and drum, and said, “Good luck with him,” when I entered the room.

John lay in bed with his face to the wall. Because I have worked with many individuals with autism over the years, I knew he most likely was trying to block out the blinding white lights in the room. It was quite overwhelming, even for me. I introduced myself to John. I told him that he didn’t have to move and that I was there just to bring some music into the room. I told him he could tell me to stop at any time and that I would immediately go away if he wanted me to.

He didn’t move. I began to play a slow lullaby on my guitar gradually adding melody in a gentle hum. His hand came out of the covers and he reached towards me. I let him rest his hand on my strumming wrist and together we strummed the guitar while he remained facing the wall. He began to hum a little and slowly sat up with his eyes tightly squinted. The guard entered; however I shook my head, assuring him that I was fine. The guard kept his hand on the doorknob when John stood up and began to move back and forth.

As his rocking speed increased so did the rhythms of the music. When the lullaby turned into the blues, John started to smile. I incorporated his name into the melody and he increased his eye contact with me immediately while repeating his own name. During thirty minutes of making music together, John calmed down and relaxed. Before I left the room I turned on a CD of music. As I went out the door and looked over my shoulder through the glass window, I watched him continue to rock slightly as he sat on his bed with a smile on his face. The guard looked at me but didn’t say a word.

We don’t always have to utilize music dramatically and often. Sometimes the subtle use of music may be more practical to improve the well-being of individuals. At times, it may be more effective to just slow the pace or turn the volume down to create a sense of balance. Often just the slightest change in tempo, volume, pitch, or key can have a tremendous effect, whether the goal is to achieve focus or create distraction. John just needed music that his body and mind understood.

Jennifer Buchanan is a certified Music Therapist (MTA), Past-President of the Canadian Association for Music therapy and owner of JB Music in Calgary, Alberta. Learn more about her book TUNE IN at www.tuneintomusic.com

Musical Rehab: Four Ways For Trained Musicians To Take The Pressure Off And Reconnect To Joy

Thu, 28 Jul 2016 14:29:00 GMT

But it’s equally common for me to meet people who have “issues” with music because they have had extensive music training.

The issues are different: fear of making mistakes, difficulty accessing joy in playing, fear of spontaneity, or a history of having been bullied or knocked down by instructors or musical peers. The issues can be minor too: they can be simply feeling like music is a job, not a pleasure.

I know for me, every now and then I have to very intentionally feed my soul with music, and “replenish the well.” When I’m practicing a lot for a performance, learning new rep, setting big goals, or focusing a lot on technique, I can get really serious about music. I can even get nervous about it. That’s a cue to Stop, Drop, and Invigorate my music-soul with joy. I call this little intervention “musical rehab.”

If this experience sounds familiar to you, perhaps you might want to consider how you can engage in your own “musical rehab.” What are ways for you to get back to basics of your love for music, and take some of the pressure off?

Here are four suggestions for engaging in “musical rehab”:

Have ideas for your own musical rehab? We’d love to hear them! Send them to Sarah at spearson@room217.ca .

Being fed by music

Thu, 30 Jun 2016 13:49:00 GMT

Encouraging people to connect deeply to their own music is something I try to do in every workshop, course or presentation I give on music in care. It’s so vitally important to feed ourselves with the music we know we love, if we are to use music to connect with others. Because of my professional life I’m constantly outputting music, so I’m mindful that I remember to input it too. Making time to self-care with music – to truly receive music – is something I try to prioritize. It can be a challenge, but always worth it.

So when I heard the news a few weeks ago about Gord Downie, I knew I had to set aside some time to listen, just for five minutes, to my favourite Hip song.

I’ve never been the biggest Hip fan, but their music has been a part of my life since I was a kid. They have been staples on the radio, around campfires, on MuchMusic, mix tapes, road trips, and summer music festivals. The Hip are an essential part of the Canadian aural landscape and Gord Downie is as constant a Canadian in many of our lives as Peter Mansbridge or Don Cherry. And I don’t doubt that Downie is a musical genius.

I don’t even have my favourite Hip song in my iTunes CD collection. It’s not one of their biggest hits. But for some reason I really, really love it.

The song is called Something On , and it was the second single released off their 1998 album Phantom Power , which was released, coincidentally, the same year I started prolifically watching MuchMusic before going to school each morning. Something On is your typical 90s rock tune, and yet has a dreamy, melodic quality to it that kept me from changing the channel whenever it came on MuchMusic. I later learned it was a song written about the 1998 Ice Storm of Quebec and Eastern Ontario – an event that was a magical, unforgettable part of my adolescence in Montreal.

While I’m happy to sing along to Ahead By A Century , Wheat Kings or Bobcaygeon around a campfire, or tap the steering wheel when New Orleans Is Sinking comes on the car radio, for whatever reason, Something On has always been my favourite Hip tune. I hadn’t heard it for years.

Life was real busy for me around the time the Hip announced their bittersweet news. It took me a few weeks to get around to it, but last week, I finally made the time. I looked up Something On on YouTube, and hit play while I did the dishes. The song was glorious and made me so happy. I played it again. And again. And let myself get fed by music.

Who knows what’s in store for this legendary Canadian musician, but as we reflect on the incredible legacy of Gord Downie, I can think of no better way than to just make time to listen to the music that moves us, for reasons we don’t always understand, and simply marvel at the gift of his music, and the gift of music itself. And I can think of no better way to connect to our deeper selves, for even just a few minutes, than to feed ourselves with the music that we know makes our souls very, very happy.

Building a Personalized Music Intake Form in LTC

Tue, 07 Jun 2016 10:00:00 GMT

Below is the sample form:

Music History and Preferences Assessment Form

Name

Date of Birth

Place of birth

Where did you live in your teens and 20’s

Did you play a musical instrument? If yes which instrument(s)?

Did you sing in a choir? If yes which choir?

Did anyone in your family play an instrument? If yes, who and what instrument(s)?

What songs did your parents play or sing to you?

What songs remind you of your parents or siblings?

What music was played or sung at family gatherings or holidays?

Do you have favourite songs from a place of worship?

Did you attend concerts when younger? If so, what kind of concerts (classical, country, folk, rock, other?

Did you go out dancing? If yes, what songs or bands did you dance to?

What song did you dance to at your wedding?

Who are your 5 favourite singers or bands?

What are your 3 favourite songs?

What songs did you sing to or play for your children?

What albums/songs/singers did you listen to most or were most significant to you

During your teen years
During your 20’s
During your 30’s & 40’s
During your 50’s & 60’s

What music or songs do you like now?

Did you go to the cinema and if so what were your favourite movies?

Did you have favourite television or radio shows?

What were (and are) your favourite hobbies or sports?

Terry Horton is a social worker, currently volunteering at a Long Term Care facility in southern BC. She completed Level 2 of the Music Care Certificate Program in April 2016, in Calgary.

Meaningful Song - Northwest Passage

Wed, 18 May 2016 18:56:00 GMT

Then suddenly, I ceased creaming and mixing, because the music coming from my kitchen radio had hijacked me body and soul. Stan Rogers and his band, the entertainers being interviewed that afternoon, were singing a studio version of their a cappella anthem “Northwest Passage,” the title song from Stan’s newly-released album.

I had never heard of Stan Rogers before, but now I stood at the kitchen sink, immobilized, shaken by the compelling harmonies and the stirring words that I was hearing. By the time the song was over, I felt transformed.

I knew I had to hear that song again and again, and to hear more of Stan Rogers. In those days of vinyl, that meant making the rounds of the record stores in Montreal. (Folk music has always been a marginal commodity.) But I was a little slow getting into the hunt. Work and family life kept me pretty busy.

And then, a few months later, in June 1983, came the terrible news: Stan Rogers had died in a fire aboard an Air Canada flight. He was returning from a folk festival in Texas. Someone had smoked in the bathroom on board. When the plane landed in Cincinnati, the opening doors caused a flash fire. Stan Rogers escaped safely, but he returned to the blazing plane twice to rescue others. On his third return to the inferno, he succumbed to smoke inhalation and died.

I bought “Northwest Passage” and all his other albums, and the succession of posthumous albums, and then I bought them all over again as CDs, and I listened to them constantly.

Years later, I would play “Northwest Passage” and “The Jeannie C,” as well as Garnet Rogers tribute songs to his brother, “Golden Fields” and “Night Drive,” to my students when introducing them to ballads and poetry in a first-term college English course, and some of those kids, sixteen or seventeen years old in the 1990s and 2000s, asked me how they too could get the CD.

About twelve years after I first heard “Northwest Passage,” camping in Cape Breton with another family, we had to drive everyone a mile uphill to a trailhead to begin a hike. All the kids piled into our car with my husband, while the other mother and I drove that mile together in peace in her car. “Northwest Passage” was in the CD player, and Stan was singing “Lies.” Five minutes later two middle-aged mums were still sitting in that car, listening to the end of the song, grabbing the Kleenex, sobbing. Stan could still do that to us.

Dr. Elaine Bander is a retired faculty member of the English department at Dawson College in Montreal. She continues to research and publish about 18th century fiction

Exploring music and wellness in the lives of elders

Tue, 03 May 2016 17:52:00 GMT

In Waterloo this past fall a seniors music group was formed through the Wayside Centre in Waterloo, which I was invited to facilitate. This group of seniors and caregivers came together because they had one thing in common: they all enjoyed music. A few members had a background in playing instruments or being members of a choir, some had always wanted to learn how to play an instrument, others simply enjoyed listening and being a part of a musical environment. For five months we met once a week to delve into the benefits music can bring to everyone.

Each week we started with a chance to share any musical experiences the group had over the past week. When we started meeting the group had a hard time finding any. But after a little while they realized they were hearing and interacting with music all the time! There were concerts, strong memories from hearing songs on the radio, music making time with grandchildren, caroling at Christmas time. As we talked we saw how much of an impact music was having on their lives everyday in terms of mood, activities and memories.

Music and wellness is such a huge topic that each week I tried to bring in a new theme. Themes included everything from singing familiar songs, to relaxation and how music can impact sleep, to analyzing and creating their own song lyrics, to an ongoing project of creating a musical autobiography. We explored how to use music technologies, looking at how to access music through the library, attempting to de-mystify the internet, smartphones and downloading music. The group explored and played with drums, shakers, xylophones, singing bowls, the piano and even bells.

One of my favourite sessions involved improvising with some colourful handbells. As the room filled with the ringing sounds everyone in the room couldn’t help but smile! What I thought would be a fun, short activity turned into a long reminiscence over the different types of bells and how they've been a part of our lives. One person shared the joy of ringing the gigantic school bell when he was young, another of the fun they had experienced in a handbell choir. Others spoke about the sound of church bells and how the vibrations could be felt across the town when they rang. It amazes me how one simple instrument can bring up thoughts of family, childhood, mealtimes, religion, routine, exploration. The depth of our conversations demonstrated to me how powerful our everyday experiences of music can be.

Another stand out in the program was the musical autobiography project. We began with the question “What is a song that represents a part of you?” From there we looked at music connected to different life stages and events, ie: childhood, school, sports, dating, marriage, children, loss. As one person brought out a song important to them, another would find a related memory and sitll more songs. This domino effect helped us create individual lists of music the represented the diverse backgrounds and life experiences of the group. As the world is realizing the power of familiar music in memory care, creating these lists of music can be helpful in communicating with your loved ones and documenting the important moments of your life in an easy and accessible way.

I feel so privileged to have been able to be a part of a program like this. In a short time we created a wonderful community centered around music, as well as other wonderful outcomes. One person had been having difficulty sleeping. They had begun using the mindfulness and relaxation techniques we learned and were finally able to get a good nights sleep. Others had begun to listen to music at home and were consciously using music that would impact their moods. Another had taken inspiration from the group and created musical Christmas presents for her grandchildren, setting up opportunities for them to make music together. Even after the group had finished some members were looking forward to getting together and visiting the library to continue learning about music and how they could bring it home with them. The benefits of music showed up physically, emotionally, mentally, and in the strong sense of community that we created.

Too often society tells us that to be musical you must be a musician, but everyone is capable of exploring, making, enjoying music and everyone deserves to reap the benefits that music can bring to their lives.

Meghan MacMillan is a music therapist working in Kitchener-Waterloo. She specializes in mental health and music and wellness.

A Soundtrack to Grief: a Journey through a Sufjan Stevens Album

Mon, 18 Apr 2016 15:46:00 GMT

This album seems to resonate with people in their grief. And while it will by no means resonate with all people, I will give a brief overview of how this album tells a grief story – how it can serve as an expression of different stages of grief: denial, anger, bargaining, depression and acceptance. It also is an example of one artist’s vulnerable process of trying to understand a complex relationship with someone who has passed.

The album begins with what seems like an incantation, opening with the words: “spirit of my silence, I can hear you, and I want to be near you, and I don’t know where to begin.” Surrendering oneself to the totality of grief and the great mystery of loss, this opening track sets a tone for a journey that plunges one into grief.

Meaningful Song: Cammina Cammina (walking walking)

Thu, 07 Apr 2016 15:35:00 GMT

I grew up listening to Pino Daniele, an Italian singer-songwriter, and guitarist, whose influences covered a wide number of genres, including pop, blues, jazz, and Italian and Middle Eastern music.

He sang songs in my mother’s dialect of Neapolitan. I loved feeling included in his music, having grow up in Canada but with Neapolitan roots. Those roots connected me and my heart to this artist.

When Pino Daniele passed away recently, I thought I would learn this song to honour him, and perform it in my role as a volunteer musician in a hospital. I had no idea that performing it would bring out so much emotion for my patients.

I find that when another language or an unfamiliar song is shared it invites more active listening. I found when I performed this song that the patients were glued to my every word, each one of them so curious, and were present and with me through the whole song as if it were a familiar journey, yet unknown in so many ways.

Every time I have sung this song I find it brings us all together to our humanness and hearts. The story it tells is of aloneness, loss of a loved partner, brother, sister, parent and what remains when they are gone – something most of us can relate to one way or another. When I sing this song, my intent is that we feel we are not alone nor are we forgotten, that we are infinite and from our suffering we can grow.

Norma Palumbo is a volunteer musician at West Park Hospital in Toronto, and has completed all three levels of the Music Care Certificate Program.

Music Care Certificate Program turns 2!

Wed, 30 Mar 2016 11:00:00 GMT

It was the first Pilot Level 1 Music Care Certificate Program. Months of brainstorming, curriculum-planning, logistical structuring, writing, editing, formatting, communications, and now lesson-planning, were coming together for this first course.

It took about five minutes to feel the magic begin.

Then things began to click, and the course began to fly. And I sensed this was the beginning of something that would grow in a wonderful way.

And grow it has! The Music Care Certificate Program is turning two this March, and there is much to celebrate. We have now taught this course over a dozen times across Canada, along with Levels 2 and 3. We have ten trained instructors who bring their own unique expertise to their varying networks and communities. The course has been offered to exclusive in-house groups that have brought the training to their workplace. As graduates of the certificate program enter the triple digits, more care providers across the country are integrating music into their practice in a responsible, responsive way.

MCCP seems to be one of its kind. Using music in health care is not something new, and its benefits are lauded in mainstream media and research-based studies alike. While music therapy is an established evidence-based profession, music is also used both consciously and accidentally by people across the spectrum of care. There are no known “best practices” for using music in health care and other care settings, and this needs to change. Given both the tremendous good and the potential harm that music can do, standardizing an approach to using music in care seems to be in everyone’s best interest.

Creating a music care certificate program has been a process of sketching out these best practices, so that we can assure care providers are using music safely and effectively. Because of this, we have consulted with experts in the field at every step of building this curriculum. This course has been built out of relationships, and continues to build relationships.

Room 217 is in the business of relationships, and as a client-centered therapist I’m in the business of relationships too. As MCCP turns two, it’s the relationships that this program has nurtured that I’m celebrating the most. Many of the connections made between course participants have turned into collaborations, collegial relationships and ongoing friendships in the community. Room 217 has built new relationships with brilliant course instructors across the country, who are feeding us with their knowledge and sharing with us their communities of caregivers. And our course participants, all caregivers of some sort, have deepened their caregiving relationships with the power of music.

We are in the early stages of confirming our course roll-out for the 2016-17 season, and it’s exciting. We are reaching communities across the country and beyond, making new connections and nurturing existing ones. We piloted MCCP because of a need that we saw to be met. As the program grows and flourishes, I feel hopeful that we are on the right track, meeting this need.

Music - The Magical Key to a Successful Fitness Program

Wed, 16 Mar 2016 14:05:00 GMT

.........

We always talk about the power of music; how it heals, relaxes, soothes, motivates, inspires, brings back memories, connects us.....the list goes on. In Swingin’ Fitness classes, familiar music is the magical key that enables me to create a program that turns a fitness class into more of a chair dance social. If you teach exercise programs, let music be your best friend. Let it be your yellow brick road to a more enjoyable class experience for all.

Getting to know your participants’ individual musical tastes can be a valuable guide to creating a motivating set list for your programs. Canada is a country whose residents hail from all over the world so it’s a good idea to acknowledge their heritage, ancestry and mother tongue when you choose your music. One of my participants hails from Macedonia. She loves music, taps along with whatever I play and wears a perpetual big smile on her face even though she doesn’t understand a thing I’m saying. Recently just prior to the end of one of our classes together, I explained to the group that today, we would be doing our cool down stretches to Macedonian music. I performed a quick search on Spotify (a fabulous streaming service) and in no time, found a collection of Macedonian folk tunes. I then proceeded to test the waters. The first song elicited a delightful glint of recognition from my Macedonian friend. Fast forward to the next song; her arms were high in the air with delight and she started singing along. Her joy was infectious and the entire class felt the emotion of her experience. It was awesome.

Sometimes you get people who are reluctant or just not in the mood to participate in exercise programs. I’m sure we can all identify with those feelings. These situations create the perfect opportunity to use our magical key containing familiar music to create a desire for them to join in. There is one gentleman in my programs who loves anything sung in French so when he’s having a tough day “je joue un chanson en français”.

Sometimes medication can cause participants to get a bit drowsy. When this happens, a little uptempo musical caffeine can do the trick. Two recent favourites “Mama’s Little Baby Love’s Shortenin’ Bread” sung by Etta James and Nat King Cole’s version of “Skip To My Lou” have been proven very effective. On a bit of a humorous note, recently, when playing a very popular tune called “Love and Marriage” one of the ladies who is a frequent soloist in a class I teach made us all giggle when it sounded as if she sang, “Love and marriage go together like a horse and CABBAGE”. It was a priceless shared moment and she kindly let me play it up for entertainment sake.

Click to learn more about Swinging Fitness

MCC Fredericton 2016 - 10 Reasons to Come

Tue, 01 Mar 2016 16:38:00 GMT

Theme: The Power of Music in CareLearn why music is important in caring for an aging population.Enjoy keynote performer and speaker, Order of Canada recipient and Juno-award winner Susan Aglukark.Hear caregivers share how they use and integrate music in regular practice.Save money by beating the early bird deadline of May 1.Enjoy the beautiful campus of St. Thomas University in vibrant Fredericton, NB.Discover music care resources and ideas YOU can use in caring for your clients and family.Network with fellow caregivers and music lovers from across Eastern Canada.Tune In to keynote speaker Jennifer Buchanan, whose book Tune In gives people the power to use music intentionally to reduce stress, improve productivity and restore health.Find out about current music medicine research by Toronto Rehabilitation Institute Senior Scientist Dr. David Alter’s presentation music and quality of life and Dr. Andrea Creech, Director of Research - Institute of Education, University of London, England.The conference is bilingual, with English and French simultaneous translation.See the full program and register today at www.musiccareconference.ca or phone 905-852-2499.

Josee's Song

Tue, 23 Feb 2016 15:24:00 GMT

“Let’s get to the good part, and past all the nonsense.”

In my late elementary school days, though it was self-diagnosed, I can pretty confidently say I had an extreme case of the Bieber fever.

It was never in remission, though did not have a hold of me quite the same. Recently, upon releasing his new album, I’ve been encouraged by Justin ’s life story. Though I’ve heard this song multiple times, it sat with me differently. I didn’t just hear words, I heard the condition of his heart’s desire. The simple words he sings in “I’ll Show You” are on the surface, but for the first time this music connected me to him. I imagined myself singing those words, as if I were him, and suddenly the song surrounding me was extremely powerful. Essentially, it’s the same plot line in my life as in his. It’s just a different story. Beneath the easy listening I felt the tug of things unsaid. Words cannot express the unexplainable. Yet somehow, in a peculiar way, Justin’s song “I’ll Show You” really hit me when I heard it.

Our lives are stories, aren’t they? The present becomes a memory to later be stored as collections in our brains. We remember, and see connections between them. We put words to the memoirs to communicate our past. And while the world is under one big story, we each have a story to tell.

My own life story has quite the extensive soundtrack so far. Amidst recent trials, I’ve found comfort in hearing someone else sing the feelings I’d yet to put words to. Music has allowed me to partner with other voices, from other stories, pulling me from the self-absorbed lie that I’m alone. It’s graced me to pray things I wouldn’t have thought of without it. It’s filled thick atmospheres of emptiness and refined them to peace. It’s reduced perplexing swirling to quiet simplicity. It’s been a language to communicate with my will, and with my soul.

My heart is overwhelmed by the blessing of music. What a gift to be accompanied through the peaks and shallows of each of our stories.

Raised in Port Perry, Ontario, Josee Foster - a part-time employee of Room 217 - is passionate about living counter to her culture. Currently, she loves to learn, think, move and create as she lives in a transition season.

Significant Song Series

In 2016, we are asking this question to our Room 217 community:
What is a song that is significant to you?

Once a month, we’ll be featuring stories about how a particular song may have played a role in someone’s life. These stories can be open to anybody. If you have a story you would like to share about a song that has been significant in your life, we’d love to hear from you!
Some considerations for submitting a story:
1. There are probably dozens of songs that have been significant to you. Pick just one and tell us about it.
2. Please try to keep the story to 750 words or less.
3. Send it in either MSWord or email form to spearson@room217.ca and we will respond to you within a week. If we can’t post it on the blog just yet, we may ask you if we can put it on Facebook along with a video of the song itself.

The goodness of Harp Therapy

Wed, 10 Feb 2016 16:42:00 GMT

This article comes to us from Hannah Roberts Brockow, a harp therapist based in Montreal.

They include the end-stage kidney disease patient who had not awakened in two days, who opened her eyes and smiled at her daughter after the answer came to me to play Chinese folk music.

VAHT has a uniquely Canadian angle. In 2007, Hawkesbury General Hospital in Ontario became the first hospital in North America to offer the modality through VAHT practitioner Ian Hepburn.

National Standards Board for Therapeutic Musicians
www.nsbtm.org
Harp Therapy Journal
www.harptherapyjournal.com

How musical memories can motivate exercise participants

Thu, 28 Jan 2016 05:00:00 GMT

Since music is at the heart and soul of every Swingin’ Fitness class, knowing the specific demographic of my participants is key. Older adults can be anywhere from 55 to 105 therefore calculations are required to determine which years to focus on in terms of sourcing the songs and selecting the music. A dance inspired fitness program where music is the main ingredient does require a playlist that resonates with the listener. It takes time, but I promise you, it has always been well worth the effort! An effort that I can happily say is kindly recognized and greatly appreciated by all who attend my Swingin’ Fitness classes.

A few tunes guaranteed to please: “ Cheek to Cheek ” from the Fred Astaire/Ginger Rogers film Top Hat, “ Hey Good Looking ” written by the infamous Hank Williams; his variation on a song of the same name originally written in 1942 by the brilliant composer Cole Porter and frankly almost anything performed by Mr. Sinatra.

The music you choose and the moves that you use, can create motivation with the memories you awaken.

Finding A Voice For Grief At a Rock Concert

Wed, 20 Jan 2016 17:25:00 GMT

As the date approached though, I grew nervous. I worried about being in large crowds, about camping in a cramped and noisy campground. I worried about getting separated from the group and feeling lonely. I worried about getting dehydrated, spending too much money on food, and about not having enough alone-time. Work had been taking a lot of my energy, and all I really wanted was a weekend to myself to rest at home.

But I decided to go. And I’m glad I did.

For three days, I received music. I lay on the grass and delighted in the acoustic folk jams of Kim Churchill , danced at the front of the packed stage to Tegan and Sara , cheered from the crowds for Zerbin , curled up against a tree and was mesmerized by Basia Bulat . I was unfamiliar with most of the artists that were performing, but that did not limit their impact. Their music fed my soul. And despite camping in a noisy cramped campground full of boisterous late-night parties, I slept like a baby and felt healthier than I had in weeks.

But perhaps the most significant moment of Hillside came right at the very end.

There had been some difficult cases at work in the weeks leading up to the festival. A few patients had died suddenly, sadly, and tragically, in ways that I couldn’t shake. The grief of working with a palliative population was catching up with me. I had felt, for a few weeks, the need for a good cry, but hadn’t yet found the outlet. Instead, a strange, unfamiliar numbness was accompanying me through my days, this bizarre emotional dissociation that, I recognize now, was the grief waiting to find its voice.

And I recognize in hindsight that my nervousness at going to Hillside in the first place was, in part, due to feeling so emotionally depleted from my work.

On the last afternoon of the festival, minutes before a giant thunderstorm broke, I was standing near one of the stages listening to the Winnipeg-based band Royal Canoe. Their music was percussive, uplifting, joyous. The crowd was responsive, dancing to the electronic-infused rock music, and the feeling in the tent was one of heightened connectedness. The world to me seemed so beautiful that it could have such music in it, and such people to respond with such joy.

I began to feel the grief move its way through my body. As the clouds in the sky began merging towards what would soon become a thunderstorm, I felt a river of tears begin to surface. And in the middle of this epic rock concert, I began to weep. I wept as intensely as the crowd danced and cheered.

And as this was happening, I turned to the friend who was there with me and explained, between tears, what I was feeling. “The world is just so beautiful,” I choked, “with such beautiful music in it. And it’s so unfair that these people can’t be in the world anymore to experience it.”

Within an hour, the thunderstorm erupted. And within minutes that storm turned into a tornado warning. The organizers cancelled the final acts and ended the festival early. I joke still about how my emotional meltdown at Royal Canoe was responsible for shutting down Hillside.

In the weeks that followed, I downloaded lots of albums from the artists that had so moved me. And as I familiarized myself with Royal Canoe, one song stood out to me as the one that probably moved my spirit so. It’s called “ Exodus Of The Year. ”

I’m not even sure if that’s what they were playing when I began to weep, but it doesn’t really matter. This song now is my anthem for connecting to that radical joy of being alive, and the deep unfairness I sometimes feel that so many people I’ve worked with no longer share that privilege.

Learning how to grieve for patients I work with is an ongoing journey in my professional life. Having music that directly, explicitly connects me to that journey makes that confusing, difficult work possible.

In 2016, we are asking this question to our Room 217 community:

What is a song that is significant to you?

Some considerations for submitting a story:

Sharing A Meaningful Song

Tue, 12 Jan 2016 15:55:00 GMT

This is a monthly series on the Room 217 blog that asks the question: What is a song that is significant to you?

This is an incredibly simple strategy, and yet can be so profound.

It’s not uncommon, when wanting to make a musical connection with a person, to ask them “what is your favourite song?” This question however can often be trite and feel difficult to answer. Personally, I have far too complex and rich a relationship with music to be able to name a “favourite.”

But if we ask someone, “what is a song that is significant to you?” –we can get a wealth of stories.

If I’m running a workshop or teaching a MCCP course, I’ll usually use this question as an ice breaker. We’ll get into pairs and, in two minutes, each tell each other a story about a significant song in their lives. When we regroup, I’ll ask: “do you feel that you know this person in a deeper way now?” The emotional charge in the room, and the ineffable sense of connection shared, usually speaks for itself.

In 2016, we are asking this question to our Room 217 community:

What is a song that is significant to you?

Some considerations for submitting a story:

Music for the Holidays

Thu, 10 Dec 2015 20:07:00 GMT

Requests for Christmas music at the hospital where I work have been mounting. I am based on an oncology unit at a local hospital as a music therapist, and there are few times in the year where the emotional impact of music on patients is better understood than during the Christmas season.

The other day I was playing Silent Night, by request in the room of a patient who was awaiting transfer to hospice. It’s a tender song that for many connects them to the deepest sense of beauty, closeness and safety. I was aware that it was a comforting, intimate musical offering for this patient.

I was also aware of who else this melody might be reaching on the hospital unit. As the strains of Silent Night trickled down the hallway, I worried about other patients and families struggling with painful procedures, difficult prognoses, and the anxiety of uncertainty. I wondered where this song might be reaching them, and how.

This is one of the most challenging parts of my job.

Christmas music can pull on our heartstrings in a flash of a moment. It’s powerful and memory-rich for most people, even if they didn’t grow up celebrating Christmas. Most of us are also no strangers to the familiar melodies that, if we grew up in North America, we’ve been exposed to since birth. With every tune can come decades of associations, some reaching back to early childhood. This is nothing to take lightly.

Christmas music can convey all the complexities of a festive season. It can bring people back instantly to a time of joy and peace that may feel painfully long-gone. It can wrap a person in warm fuzzy feelings and be of profound spiritual comfort. It can reinforce someone’s feelings of isolation, loneliness, anger or depression. It can bring a person to tears. It’s also no secret that, with all the joy and cheer associated with this time of year, it’s also when suicide rates, domestic strife, and mental health crises are at their highest. The music of the season carries that legacy too.

This knowledge makes me nervous about playing Christmas music in my hospital, where everyone can hear it. I take comfort in the fact that, realistically, Christmas music is already everywhere. The same family I might trigger by playing Silent Night in a neighbour’s room would probably have heard that song from some TV commercial when they wandered into the family lounge for a coffee break. I take comfort in the strong team I work with of nurses, social workers, chaplains, physicians and other allied health, who will be able to provide support if someone suddenly finds themselves emotionally jarred. And I trust my own training and supervision that I am making clinically responsible musical decisions, and that I have the chops to support those who might be negatively impacted.

Having said all this, I still play tons of Christmas music at the hospital this time of year. For all my caution, the feedback from patients, families and staff is almost always overwhelmingly positive.

Perhaps it’s so effective because Christmas music is so complex. It’s not just connecting people with happy feelings. It’s connecting them with the broad spectrum of emotions that makes them who they are.

This, ultimately, is why I think music is such a powerful agent of care. Not because it can “cheer people up” – often it doesn’t. Rather, music can connect us to ourselves. And when we’re committed to delivering person-centered care, this is about as valuable an outcome as any.

A few words of caution when sharing Christmas music in your care space:
- Do it gently. Don’t saturate the space with it. Find music that is mellow enough in mood and tempo, at a volume that won’t dominate the space.
- Know your supports. Be aware that sentimental music of any kind may be the tipping point for a person under extreme emotional stress to finally let it out and cry. Be aware of this, and plan in advance. Do you have the capacity to support people through a cathartic cry? Are there people nearby who can?
- Keep it consensual. Whenever possible, let people “opt in” to attending a carol-singalong, Christmas concert, or music-listening time. If you’re playing music somewhere like a hospital, hospice, waiting room, or over a sound system, be aware of people’s ability to tune in or tune out. Keeping it at 20 minutes is a nice protocol when playing for a “captive audience” (roving carolers in a hospital, for example).
- Ask for requests. Engage with people and their relationships to Christmas music! Ask for their favourite carol, and ask what that carol means to them. Let the music be a point of connection. Make it safe to talk about not just happy associations with Christmas music, but challenging ones.
- Celebrate this music together. You don’t have to celebrate Christmas to find it significant, poignant and beautiful. It is a shared cultural language in North America and something that most people can connect over. Celebrate that wonderful opportunity for relationship! That’s what care through music is all about!

Music, Care and Space

Thu, 19 Nov 2015 15:30:00 GMT

Healing environments are conducive to healing outcomes. Health care centres are paying increasing attention to architectural and design choices that can maximize people’s experiences of being cared for.

I’m interested in how sound and music contribute to the healing effects of the space I work in – a cancer centre and inpatient oncology unit. When I’m working with music therapy in a hospital, I’m working with space. While the therapy sessions are always focused on the patient and their highly individualized needs, the music that comes out of these sessions impacts the whole environment. Bedside music therapy in a hospital is often competing, sound-wise and time-wise, with beeping machines, loud conversations, visits from other clinicians, TV noise, and unscheduled appointments. So when introducing music in a clinical space, I am working with space itself as well as with music.

Jennifer Beggs, an architecture graduate student at the University of Waterloo recently got in touch with me to share her thesis project with me: proposed architectural plans for the Cancer Centre where I work. Her designs are meant to increase wellness, healing and overall experiences of whole person care in the Cancer Centre. She had conceived of innovative models of incorporating living plants and gardens into the clinical spaces themselves. She had designs for the chemotherapy suite – a large, sunny space where dozens of patients sit around for hours getting chemotherapy drugs pumped into their blood. In the design, “vertical gardens” were installed in carefully selected sections of the chemo suite. These vertical gardens are glass columns filled with living plants, with ventilation that gently releases whiffs of fresh greenery into the chemo suite. They are positioned in the sightlines of patients, offering a visual focus during the long hours of treatment.

In another design, this one focusing on the front entrance to the Cancer Centre, a semi-enclosed glass overhang had been added to the entrance, decorated by shrubs and greenery. This overhang was meant to create a feeling of being enclosed and cared for, letting the light shine in but also protecting from the elements.

Even just looking at the design images, I feel cared for by the space. The before-and-after images speak strongly of how care can be communicated by structural design.

Whole person care is delivered through actions – by doing things like offering more holistic services like spiritual care and pet therapy, increasing funding to spiritual care, asking questions about people’s hopes, dreams and values on intake forms. Ultimately, whole person care is an experience that must be felt. Imagining spaces like this, I think we are getting closer to experiencing whole person care.

Some of the strongest supporters of music therapy in my workplace are nurses and attending staff, who hear music trickle out of patient rooms. They may not know that the ambient piano improvisation we engaged in during the session was actually a musical interpretation of the patient’s favourite vacation place, or a musical exploration of what the word “peace” means to the patient. This highly individualized music also had an overall ripple effect on the environment, meeting staff wherever they were at and perhaps connecting them to the emotional current underlying their own deeply caring work. While the therapy is individualized and co-relational, no relationship can ever exist outside of context. The context of the music – the fact that it is taking place in a hospital bedroom – is an integral part of the therapy.

It is inspiring to see projects like Jennifer’s that deliberately work with the structures of the environment itself. It is inspiring and I hope more designs like this get brought into fruition.

You can see more of Jennifer Beggs’ thesis here.

The Pathways Singing Program for Memory Care

Wed, 14 Oct 2015 15:40:00 GMT

Learn more about the Pathways program, or visit our resource store for purchase information

Bev Foster is the Executive Director of the Room 217 Foundation, an organization dedicated to music and care. She is an experienced, performer, songwriter and music educator. Compelled by their own caregiving situation, Bev and her husband Rob, founded the Room 217 Foundation in 2009. Bev speaks and writes extensively on the power of music, especially in complex care or life limiting situations. Her passion for music enhancing quality of life and care is contagious.

10 of 10 Reasons why singing is good for your health

Thu, 24 Sep 2015 13:27:00 GMT

When we sing, our body, breath and spirit all work together. The voice is a direct result of the breath, musculature and overall mental and emotional state of a person at any given moment. If we are feeling nervous or threatened, the muscles that respond to fear will constrict and so too will the voice. When we feel impulsively joyous, our breath will dance and our voices will sing free.

In other words, we can think of singing as an expression of the whole self. Renowned vocal coach Joanna Ouston Weir summarizes this well in the following quote: “the way in which an individual engages [their] voice and breath is inextricably linked to [their] identity and emotional landscape [they] have constructed in response to [their] life experiences.”

Studying voice technique inspired me to become a music therapist. Having sung my whole life, it wasn’t until I began seriously applying technique – mainly to deal with some vocal injury – that I began to understand singing as a means of knowing oneself. Looking back, my vocal injury was a result of trying to sing, for years, in a way that would sound “right” and please others. Learning to sing like myself has been a process of cultivating physical and personal awareness. And that process has often been uncomfortable.

Practicing singing technique is not unlike a yoga practice, where through repeated exercises (or poses) we cultivate awareness of our most mundane habits, and make a sometimes-challenging commitment to change those habits. Through practicing yoga, we might become more aware of our body when we do mundane things like reach for a jar on a top shelf or stand up out of a chair. Similarly, through conscious singing, we can become more aware of our breathing habits, our emotional responses to our surroundings, and to the ways we might be adjusting or manipulating our voice in order to impress those who can hear us.

It is not uncommon for music therapists who have special training in voice technique to use singing as a means of therapy. I’ve found it to be a very helpful modality in my practice. A woman might discover she has a deep fear of using her chest-voice because it sounds “too masculine,” setting her on a journey to explore her sense of power. A client might discover that he cuts off his speaking voice to resonate merely in his sinus cavity, blocking off flow to entire areas of his body, which might illuminate a fear of being totally present, and a desire to hide and self-protect.

Singing helps us know ourselves. In those moments where we let go of inhibitions and belt out to the radio in the car, or impulsively sing in the shower, or spontaneously sing along to a song we’re dancing to - those are moments of true presence, honesty, and joy. Those are moments of self-hood. Similarly, those moments where we fight the impulse to sing – or tell ourselves we can’t sing or shouldn’t sing, or try to sound like someone else when we sing - those are telling moments too. They illuminate cultural assumptions, learned behaviours, and beliefs we carry about ourselves.

The reality is that singing is natural, normal and extremely good for our health. The next time you or someone around you says, “I can’t sing,” consider where that belief is coming from. And then challenge it. It’s a belief worth challenging.

9 of 10 Reasons why singing is good for your health

Thu, 10 Sep 2015 15:45:00 GMT

Stepping outside our comfort zone is a recipe for prosperous growth. In her viral TED Talk and series of books, Brenée Brown has lauded vulnerability as an essential step towards happiness and fulfillment. Through trying new things, we expand the boundaries of what we believe is possible. We grow.

Singing is one of the most vulnerable human activities. For countless people I meet in my music therapy practice, singing in front of other people is not only terrifying to them – they are convinced it is impossible. And yet, singing is the most natural human impulse. Animals do it, babies do it. Persons living with advance dementia will often vocalize to self-soothe. “You don’t want to hear me sing” is one of the most common comments I hear from music therapy clients, often spoken with a light-hearted spirit of dismissal or brushing something off.

But the reality is, I do want to hear them sing. And when they do sing, it is invariably beautiful.

What are the possibilities for growth when we step outside our comfort zone? In the music therapy group I facilitate in an outpatient mental health program, we focus on music as a means for risk-taking. Participants try new things they never thought they could do – improvising on instruments, songwriting, singing. They leave the sessions feeling lighter, more embodied, and with the freshness that comes from doing something they didn’t think was in their reach. The hardest part isn’t the music-making – that comes easily because it is so natural. The hardest part is giving themselves permission to make music.

The fear of singing is learned, and cultural. This is a world where reality TV shows like American Idol improve ratings by publically shaming people’s voices. The fear of singing shouldn’t be taken lightly. Taking a risk when we aren’t supported healthily is dangerous and can do damage. Perhaps, through reading this series, you’ve been thinking more and more that you’d really like to carve out more space in your life for singing, but acknowledge that there’s fear. The short answer: you should sing! But find spaces and environments where you will be supported to take risks. Avoid settings where there’s any chance of you being shamed for your risk-taking. Find a wholesome community choir, or a wonderful campfire singalong, a friend who will go for a long drive with you while you sing along to your favourite rock album, or an open mic environment that nurtures risk-takers.

Risk-taking builds confidence. Singing is a risk with wonderful emotional, social, spiritual and physical rewards. It’s our human right, so let’s make space for it.

8 of 10 Reasons why singing is good for your health

Thu, 27 Aug 2015 13:39:00 GMT

7 of 10 Reasons why singing is good for your health

Tue, 04 Aug 2015 14:33:00 GMT

Singing Increases Circulation

Choirs and singing programs are popping up all over retirement communities, Long Term Care, and other programs for older adults. There are many reasons for this, but one stands out. The health benefits of singing for an aging population are many, but few benefits are “sung” more praises than the impact it has on cardiovascular health.

Singing oxygenates us. It draws on us to take deeper breaths. It brings colour back into our cheeks and helps us shed the stress of the day.

I’ll never forget a moment I spent with a woman in her final days of cancer, visiting her at her bedside along with her siblings. A musical family, I joined them in singing some of their old favorite family songs gathered in that hospital room. At this stage of her cancer the patient was only semi-conscious and barely able to speak, but was breathing along to the songs and uttering some lines here and there. At one point, her sister-in-law said, “look at her fingernails! They’re not blue anymore! Look at her cheeks! They’ve got some colour!” Singing was a powerful medicine for her. It did not save her life, but it brought life back into her body for a brief while before she died.

When we sing, we breathe life back into us. Our cells benefit, our cardiovascular systems benefit. Our hearts benefit. It brings the colour back into our fingernails and cheeks. It brings the colour back into our lives.

Music’s role in rehabilitation and motivation

Tue, 14 Jul 2015 14:51:00 GMT

The content of 2015’s Music Care Conference will be bookended by dramatic and inspiring addresses by Allison Woyiwada and Alvin Law.

To kick off this year’s conference, Allison, her husband, Robert McMechan, and music therapist Cheryl Jones will share the compelling story of a remarkable recovery from a brain aneurysm.

Music used in rehabilitation
When it was discovered that Allison could play sheet music (though still speaking gibberish), neurologic music therapist Cheryl Jones agreed to use melodic intonation therapy to bring back Allison’s speech. Allison is once again teaching piano, conducts an Ottawa music group and sings in choirs.

Changing the status quo
Following a full day of exhibits, sessions and refreshments, the conference will wrap up with a presentation by Alvin Law , who says being born without arms is the best thing that’s ever happened to him. A “Thalidomide Baby” of the ‘60s, Alvin was given up for adoption. His foster family advocated for him to be treated like a “normal” kid. Alvin learned to use his feet as hands and bucked the trend of segregated education for people with disabilities.

Music and motivation
Alvin discovered his musical ability when a music teacher thought playing trombone would be manageable. It was. So is piano and drums! Alvin graduated from high school and college with honours. He is a trained broadcaster, fundraiser, professional speaker, award-winning musician and bestselling author. His spirit compels people to dream big.
We can’t wait for you to hear Alvin’s presentation on Music as Motivation for Success.

For more information and register for the 2015 Music Care Conference, click below.

6 of 10 Reasons why singing is good for your health

Wed, 24 Jun 2015 04:00:00 GMT

It is obvious that singing adds life to our years. Research also suggests that singing adds years to our life.

A joint study with Yale and Harvard in 2008 revealed that choral singing can increase general life expectancy. The study focused on the town of New Haven, Connecticut, where an unusually high percentage of the population sings in choirs. Positive impacts of choral singing on both cardiovascular health and mental health were shown to increase life expectancy of these choral musicians. This ended up boosting the overall life expectancy of the town.

This double-whammy of singing’s physical and mental health benefits has been reported widely by medical practitioners. It explains why singing has been used as a holistic means of healing across cultures and throughout history. Singing works the body, mind and spirit simultaneously, increasing positive relationships between people, communities, and oneself.

The take-away? Singing is good for us. It is good for our communities. It boosts stats of life expectancy. And it does this by exercising our whole person – body, mind and spirit.

Music is about the Relationship

Thu, 11 Jun 2015 13:41:00 GMT

Music Care Conference 2015

Thu, 28 May 2015 15:25:00 GMT

The 2015 Music Care Conference is the place to be for inspiration and motivation as we bring two dynamic speakers to complement our theme of Music & Rehabilitation .

Attendees will hear from Allison Woyiwada who was left with severe cognitive and physical deficits after surgical treatment of a "giant" brain aneurysm. Cheryl Jones , NMT, used music to encourage Allison in her goals of reacquiring skills of daily living. Allison's journey from a near vegetative state to functioning adult is chronicled in her book, Allison's Brain, authored with her husband Robert McMechan .

One reviewer praises the book for illustrating the power of music to heal, pointing out that:

"While our advances in medicine provide hope and possibility for so many patients, the process of recovery continues to rely on our humanistic practices. Music therapy played pivotal role in Allison’s recovery and her story illustrates the power of music to heal. Allison’s music therapy sessions facilitated by a certified music therapist, allowed for the expertly guided use of music to foster her brain’s neuroplasticity and skill re-acquisition. Leveraging the innate power of music to heal through structure music therapy sessions was a transformative process for Allison.

Allison’s Brain demonstrates how music and the brain were made for each other.” www.allisonsbrain.com/reviews

Allison, Robert and Cheryl kick off this year's conference sharing the story of Allison's Brain and how music rehabilitative power can be used by allied health professionals, and caregivers.

Once we have been inspired by Allison's rehabilitation story, attendees will break out into their chosen sessions.

Following the afternoon breakout sessions, we will all gather for the amazing and motivational presentation of Alvin Law . Alvin was one of thousands of Canadian Thalidomide babies born in the 1960s. What may have become a tragic life-story did not turn out that way. Alvin is not only a completely independent, remarkably successful professional speaker, but proof that out of nothing can arise one of the most inspiring stories you will ever witness. Rather than seeing himself as a victim who is limited by not having arms, Alvin lives a full life that includes raising a family, driving, and playing several instruments including drums and piano!

You've got to see him to believe this.

Through his parents' encouragement, faith, dedication and infinite belief, little Alvin learned to use his feet for hands. His parents advocated for him to attend regular school rather than be segregated. By treating Alvin like a typical boy, his parents set the expectation that he would grow into a typical man. Alvin has worked as a disc-jockey, in advertising, PR and as a civil servant.

Despite being told that he wouldn't amount to much, Alvin is a motivational speaker who has shared his message of hope and joy to thousands of people.

Don't miss out on this opportunity to hear about the power of music. Music Care Conference takes place Saturday November 7, 2015 at the Living Arts Centre in Mississauga.

Registration officially opens June 1, 2015

Check out allisonsbrain.com and alvinlaw.com

Topography

Tue, 19 May 2015 15:06:00 GMT

Working in end-of-life care is a privilege and an honour. I am often humbled at the ways that families invite me in to share their final hours together. We begin as strangers, but as we introduce music into the relationship, a fast intimacy is established. Music is a spiritual language for many, and these encounters can feel mystical, sacred, and deeply connected. The paradoxes can feel blindingly strong. The searing pain of losing a loved one is as imminent as the flickers of peace, beauty, gratitude and grace that can befall the room of a dying person.

Making sense of suffering, death, and loss is a universal human struggle. For me, songwriting is my natural go-to way that I try to make sense of these mysteries.

Today I’m very happy to announce the release of a short EP of songs I wrote, and recorded here at a local studio in Kitchener, called “ The Earth Was Built For It. ” These are four songs that I’ve crafted over the past 9 months that, to me, reflect deeply the paradoxes I encounter in end-of-life care. They touch upon my own grief journey of receiving a diagnosis of chronic disease 5 years ago, juxtaposed with the gratitude I feel from continually witnessing the more profound suffering of others.

Many of Room 217’s followers and end-users are holding some deep losses. They are family caregivers or health care professionals witnessing some terrible suffering, and processing grief of their own. They connect with Room 217 because they recognize the power of music to find meaning and relationship through this suffering.

It’s for those stewards of grief that I would like to offer the closing track off the album, called “ Topography .” It is a song written from the place of spiritual distress at a loss. It is also written from the place of deep understanding that grief is an organic human experience. While grief shapes us, becoming a part of our emotional and spiritual landscapes, there is meaning to be found in it. “The Earth was built for it…see what you can do with it.”

One of the great privileges of being an artist of any kind is the opportunity to offer healing and empathy through sharing our work. It is the same privilege I feel being invited into the room of strangers to offer music and connection as a music therapist. If you and I can connect today through the sharing of this song, the privilege is mine.

5 of 10 Reasons why singing is good for your health

Mon, 11 May 2015 15:30:00 GMT

Singing is a Natural High

Do you ever get in the car after a stressful day at work, blast your favourite song and sing along at the top of your lungs, and instantly feel better? Or maybe you’ve found that you feel connected and bonded with a group of people after singing a campfire song, a national anthem, or “Happy Birthday” together.

There’s science behind this phenomenon. A cocktail of “happy” hormones are released through singing, according to recent research.

Singing releases endorphins, the pleasure-inducing hormone. It’s the same hormone and happy high that exercise produces. Singing also releases oxytocin, which is a hormone associated with closeness and bonding. Singing alone or in a group will chemically lessen feelings of isolation, depression and loneliness, and create a sense of belonging. Cortisol levels, which are associated with stress, are also shown to reduce from singing.

A recent study suggests that singing has evolved as an activity of human survival that nurtures togetherness. The study argues that our physiological response to singing is an evolutionary reward for engaging in social activity. Human beings need togetherness for survival, and group singing certainly gives us that feeling of togetherness.

Pleasure, togetherness, and stress-reduction. These are the three hormonal effects singing has been proven to have.

These alone area great reasons to make space for singing. But for those of us working in vulnerable caregiving sectors, this information can be critical. Depression and isolation are major concerns in most in long term care settings, complex continuing care, and among family caregivers. According to the Canadian Mental Health Association, mood disorders are said to impact 20% of Canadians at some point in their lives. Stress is an obvious and concerning reality of most professional health care workers, volunteer or family caregivers, and people in the social service sectors. If singing can address all these concerns, then it makes sense to prioritize singing – and budgeting for singing activities – as a health-improving, pathology-reducing activity.

Making space for singing is a wise move for people involved in all aspects of the caring circle. If you are a caregiver, try to sing along to your favourite album on the way to work, join a choir, or sing with your care recipients from time to time. And see how creating opportunities for care receivers to sing – be it a resident living with mid-stage dementia, a youth with mental health issues, or a loved one at the end of life – can benefit their overall wellbeing. Hiring a choir conductor, implementing a sing-along program, hosting coffee-houses and songwriting circles, and inviting specialists to lead singing workshops, are just some programmatic ways we can implement singing into overall care plans in contexts where depression, isolation and stress are serious concerns.

We may not have needed science to show us that singing makes us feel better, but the science sure gives us a great excuse for singing in the car at the top of our lungs.

4 of 10 Reasons why singing is good for your health

Tue, 28 Apr 2015 13:58:00 GMT

Singing is a community builder

3 of 10 Reasons why singing is good for your health

Mon, 13 Apr 2015 13:46:00 GMT

If you’ve ever practiced yoga, you have probably experienced how flowing through the poses teaches us new ways to use our bodies. It can help us discover new muscles, new alignments, and new ways that we can move and support our musculoskeletal selves.

Singing is like yoga - for the brain. And if you or people you care for are struggling with neurological challenges – brain injury, or memory care issues – you may want to read on. Stroke or brain injury can have devastating effects on a person’s speech. Trauma to areas of the brain that control speech can rob a person of their ability to verbally communicate.

However, it does not always take away a person’s ability to sing.

Former US senator Gabby Gifford wowed the world when, after surviving a near-fatal gun attack that injured her brain and took away much of her speech, she recovered much of her speech through singing. Gifford, struggling after her attack to speak a few words, found she was able to sing words that she could not speak. Working with a neurological music therapist, she has made outstanding progress towards recovering her full speech.

Singing uses all parts of the brain, and can help rebuild neural pathways in the wake of acquired or traumatic brain injury (related to: stroke, car accident, or dementia). Singing will support neurological rehabilitation as well as preventing further cognitive decline. Dr. Lee Bartel explains this phenomenon beautifully in this video .

So if you or someone you love is dealing with cognitive loss or brain injury, just sing. Sing Happy Birthday or Twinkle Twinkle Little Star , or put on your favourite record and sing along. Keep track of progress – see how many words start to come back, how breathing might improve, and how the ability to articulate words increases. Just like yoga, singing is a practice, but you can count on it to see results, and even better, to feel good.

Click here for more information about neurological music therapy.

Photo credit to papermoons

2 of 10 Reasons why singing is good for your health

Wed, 25 Mar 2015 13:45:00 GMT

Singing is a Full Body Experience

The impulse to sing comes from inside, but it manifests itself in physical ways. Choir members will sit up tall in their seats at the start of a rehearsal. A pop singer will use their arms to gesture along to their melodies. If we are driving and and humming along to a song on the radio, it is likely that we’re also tapping our fingers on the wheel.

A person at the end of life might be experience dissociation from, and sometimes anger towards, their bodies. Singing along to some music with a loved one or to a recording, even singing ever so faintly, they may begin to feel connection to their bodies again. Their breathing will regulate, increasing oxygen supply. Their eyes might light up, they may turn their heads towards the music. They may start tapping their fingers or toes. They may even feel tears on their eyelids.

Alive Inside is a documentary about the work of Dan Cohen, a social worker from New York who has developed a protocol using iPods to deliver familiar music on personalized playlists in dementia care. An 8-minute video clip of this documentary has become a social media phenomenon around the world. This clip centers on Henry, an older adult with dementia who has lived for 10 years in a nursing home, who was described by staff as isolated and vegetative. The moment he listens to his favourite music on an iPod, he lights up, moves and sings along to the music. The compelling sight of Henry suddenly inhabiting his body through singing has sent this video clip to go viral.

Singing is a full-body experience. Maria ran out into the hills because she needed space to sing, beyond the cloisters of the abbey. The effects of this fact can be medical (increased oxygen, increased motor function), but it is also spiritual. Whether we are in the Salzburg hills, a Long Term Care wheelchair, or a hospice bed, if we are connected to our bodies, we are connected to life.

1 of 10 Reasons why singing is good for your health

Wed, 11 Mar 2015 14:34:00 GMT

The Ocean Drum

Tue, 03 Mar 2015 12:00:00 GMT

The ocean drum is a round, see-through frame drum, filled with ball bearings that sound like ocean waves when you move it back and forth. There is no “correct” way to play it, and it can produce many sounds. It can be shaken to sound like turbulent storms, tilted steadily to produce long pebbled surf, or held still to create the faintest whisper of water lapping the shore.

While music therapists will use the ocean drum for specific clinical and/or psychotherapeutic goals, I believe that the ocean drum can be used in all sorts of creative ways for self-care or caring for others.

Here are five reasons why I believe the ocean drum can promote wellness:

Here are some suggestions for using the ocean drum in care practice, particularly when caring for people in end-of-life care or with dementia:

You can find the ocean drum at any major instrument store. It is suitable for people of all ages.

Singing and the Power of Connection

Fri, 20 Feb 2015 14:45:00 GMT

This story was submitted by Janelle Glick during the MCCP Pilot Level 2 course in November, 2014. Janelle, a mother of 3, is currently enrolled in the Masters of Divinity program at the Seminary of Wilfrid Laurier University. She was met with an emotional response when she read this story aloud to the MCCP class, and later on at the Music Care Conference in Waterloo. This moving story speaks to the impact of singing to connect us to ourselves and to each other.

Stewardship

Wed, 28 Jan 2015 17:23:00 GMT

Recently, Room 217 sent a stewardship report to its supporters acknowledging the work that has been accomplished in this last calendar year and thanking them for their partnership.

Here are some of the highlights.

Spirit Wings was played while staff sat with a client overnight – she was soothed by the music and died while Footprints was being recited. All of the staff members who experienced this individually spoke to me afterwards and explained how powerful this experience was. As the resident was dying, they encouraged her to “let go” and they guided her to focus on the songs that were very meaningful to her. The music brought some ease and comfort to a very difficult night.

Remembering A Musical Steward

Thu, 08 Jan 2015 18:10:00 GMT

“Joy” (name changed) began teaching me piano when I was four years old. She was a teacher at my daycare, which I attended for three years before kindergarten. Joy would often lead sing-alongs around the old upright in the daycare facility. She also hosted small music groups for the daycare kiddies at her house on the weekends. We would play Orff instruments, sing, and learn rhythm games. At daycare and “music classes” alike, us youngsters loved Joy. She was warm and brassy in her songs, hugs and cuddles, and at daycare, I grew to see her as my “mom-away-from-home.” I loved going to her house, which smelled spicy and was full of trinkets. I loved her banana bread, and playing with the other kids.

Joy noticed I was a particularly musical child, and she suggested to my parents that more in-depth musical exposure would be good for me. So when I was four, she began to give me private piano lessons. My parents, neither of them musicians, bought an upright piano and soon, Joy began coming over to my house to give me lessons.

I remember the very first lesson where she taught me how to identify “Middle C” on a keyboard. It was like suddenly teaching someone to read a new alphabet. From that day on, the keyboard has been home to me, a world where I can orient myself. Feeling oriented on a keyboard preceded my ability to recognize words, even some letters, and something I can’t remember life without.

I often hear many horror stories about people’s early-childhood piano lesson experiences. “Task-master” and “wrist-slapper” are some of the ways I’ve heard piano teachers described. It’s often because of negative piano lesson experiences that people might decide to “give up” music altogether.

Thankfully, I was spared this first-piano-teacher experience. Joy taught me to play by ear and encouraged me to improvise. While she taught me the basics of sight-reading, it wasn’t enforced. I remember her scolding me, lovingly, when I would refuse to practice by reading the notes on the page, deferring instead to playing pieces by aural memory. Weeks would go by when I wouldn’t practice the piece at all, busying myself instead with composing little pieces of my own, playing for hours by ear. I would never get in “trouble” for this. At the end of each lesson, she would let us play a rip-roaring “Heart and Soul” duet, she and I taking turns riffing off an improvised solo line.

There are times when I have wished I had more discipline in my early piano lessons, that I might have honed my technique and reading skills sooner. But I’ve always felt grateful that I was nurtured to play at the piano. A great music educator is not only a teacher but a musical steward. They recognize potential in their students and challenge them to cultivate it. They recognize and nurture artistry. I was four years old when Joy became my teacher, but I remember distinctly, even as a four-year-old, feeling like Joy saw the musician in me.

I am no fine keyboardist. I still play with little technique, still mostly by ear. I never studied piano formally beyond a few years of casual lessons with Joy. But piano has always been an extension of my self. I express myself deeply through the piano, write much of my own compositions on piano, and connect emotionally through keyboard with clients in my music therapy practice. It is a voice through which I speak some of my deepest truths.

Joy was my first musical steward. That relationship feels sacred, and in her passing, I feel the connection even stronger. I am sad, thinking of Joy leaving this Earth. She died peacefully, after a full life. Joy taught me piano. Her spirit moves through me every time I play.

Are we making a difference?

Thu, 18 Dec 2014 17:23:00 GMT

I work in inpatient oncology as a music therapist. Music therapy is a clinical health care profession that uses musical interventions within a therapeutic relationship to address client-centered goals. In inpatient oncology, I use live instruments, singing and songwriting to provide comfort, pain distraction, reflection, life-review, and emotional validation and reflection. About half of the patients I work with are palliative. My colleagues are RNs, social workers, spiritual care providers, dieticians, pharmacists, oncologists. “Making a difference” is something the whole team is striving for.

But what does it mean to “make a difference” when the patients we work with are dying?

Atul Gawante’s recent book “Being Mortal” has helped raise the conversation in our country about quality of death as well as quality of life. “When it comes to the inescapable realities of aging and death,” he writes, “what medicine can do often runs counter to what it should.”

We all want to help. Gawante, in a CBC interview November 17th, said that in his own practice as a surgeon, he felt very comfortable with the “fixable problems” such as appendectomies and other routine procedures, but less comfortable with the “unfixable problems.”

As a music therapist, I live in the space of unfixable problems. I cannot offer patients drugs or life-extending procedures, write prescriptions, or even explain their disease to them in detailed medical terms. I can only be present with patients, in a therapeutic relationship, with music as a thread connecting us.

Many times, patients have looked at me from the midst of their physical suffering and said, “I just want it all to stop.” Hearing them, I feel the inner turmoil about quality of life, about decisions to stop treatment, about the persistent drive in the current medical model to extend life at almost any cost. I feel powerless to help them. But I know that I can walk alongside them, at least for a while.

I wonder how much any health care profession, regardless of scope of practice, can actually help at the end of life, and how much of our collective work is simply about walking alongside.

The desire to make a difference is so strong. So it’s no surprise that feelings of helplessness, of not making a difference, is a common cause of caregiver burnout. Burnout is a common risk in all caregiving professions, but each profession has its own unique set of causes that might lead to burnout. In a 2013 study on burnout in music therapy, Dr. Amy Clements-Cortes identified common burnout factors for music therapists to include being a “professional minority,” and feeling “isolated and misunderstood.” Very few facilities or units employ more than one music therapist, so we end up working in isolation, with collegiality from other disciplines but none from our own. Also, music therapists are often working in an environment where the benefits of music therapy are not well understood by attending nurses and physicians. Music therapy can often be the “afterthought” of the disciplines present on a team, regardless of how appreciated and respected the therapist may be.

This can leave us yearning for validation from our colleagues and patients that our work matters. It can leave us yearning to make more of a difference, and burning out from feelings that we are not.

Recently, in a conversation with a colleague, an oncologist, I confessed a deep secret:

“Sometimes, during Rounds, I dream of going to med school, so I could actually make a real difference.”

I don’t think this oncologist and I need to argue over who is making more of a difference, but we can acknowledge that we share the same insecurities. Medicine has its limits. Music has its limits. Ultimately, life has its limits. We may all just have to adjust our idea of what “making a difference” really means, and continue to offer one of the greatest human gifts: walking alongside a person through their suffering.

Music Care Stories: A Caregiver's Thank You

Tue, 09 Dec 2014 15:06:00 GMT

It’s not always easy for caregivers to know if their work has made a difference. Feeling helpless is a common feeling for caregivers, and a sign of caregiver burnout. ¹ This story comes from a musician caregiver Nicholas Stirling, who runs drumming and storytelling workshops at the Centre for Addiction and Mental Health in Toronto. Nicholas recently participated in the pilot MCCP Level 2 course, where he shared this story.

Her weeping was often spontaneous.

Neither the nurses nor myself could know when or why “Christine” would suddenly empty into sadness and tears during a seemingly joyous drum circle.

Each week as I hosted this drumming storytelling circle in the schizophrenia unit, I was constantly enlightened by the unplanned improvised and emotional nature of our client personalities. Happy, sad, silent and vocal.

I remember Christine to this day, because after an entire year of weekly drumming sessions, during which she seldom appeared happy or content, it came to Christmas time. Amongst several cards I received thanking me for my work, was one from her. A flower on front, and inside was written:

“Thank you for being born.”

Many of us, I’m sure, can relate to the magnitude of this moment of validation in a caregiver’s life. Learning that our care is making an impact in the lives of others is what keeps many caregivers going. This story can serve as a reminder to caregivers to never underestimate the power of presence, of relationship, and of caring through music.

________________
¹ Van Dernoot Lipsky, L. (2009). Trauma Stewardship. San Francisco: Berret-Koehler Publishers, p. 49.

10 great reasons to come to the Music Care Conference Waterloo, ON - Nov 15, 2014

Mon, 03 Nov 2014 15:00:00 GMT

Learn singing strategies to incorporate into caregiving practice.Be inspired by ‘Singing Doctor’, Dr. Carey Andrew-Jaja who welcomes newborns with song in the delivery room.Be informed about how singing is being used by caregivers in a variety of settingsSinging in Families – Alicia Smith with mom, Miriam and sister, JacquelineSinging and Stroke Rehabilitation with Catherine HaireSinging in Faith Communities with Mark RuhnkeSinging and Adolescent Mental Health with Amy Berends Enjoy Inuit Singer/Songwriter Susan Aglukark LIVE as closing keynote performer and local singing groups: The Laurier Singers and the Good Hearted Singers.Learn how singing is connected to our memories in Singing and Dementia Care with Dr. Amy Clements-Cortes.Hear about how song can influence issues of social justice with Debbie Lou Ludolph.Learn about the effects of Singing at End of Life and Singing in Prisons with Kate Munger.Discover how you can use singing more effectively in caring for your loved ones and clients.It’s a great price - $135 regular and $95 for seniors and students including refreshments and lunch (plus tax).Visit with the SOLD OUT exhibiters and learn about local music care programs and meet new friends who share your music care passion.For more information and to register, visit: www.musiccareconference.ca

Pathways: helping people with dementia find their voice through song

Fri, 17 Oct 2014 17:21:00 GMT

Singing is particularly effective in dementia care because it is a healthy and meaningful activity.

Singing:

Room 217’s Pathways Singing Program provides a much needed music resource for caregivers and community leaders working with people with dementia. It will also provide an enjoyable psychosocial activity for people with dementia that has the power to unlock both their memories and their voice in a variety of settings – home, long term care, support groups, and day programs etc.

Key Elements of the Pathways program
1) Video Series – Thirteen 25-minute theme-based episodes that are simple, consistent and calming in their approach, featuring the same facilitating singer in each episode for familiarity, regularity, repetition and focus organized into 3 DVDs:

2) Activities – Five accompanying activities per song per episode to extend the usefulness of the musical experience, integrating other modalities and enhancing the program.

3) Training Modules – An online resource to train and support program facilitation by caregivers in whatever setting Pathways is used.

Room 217 depends on donors to help us deliver music care programs such as Pathways. Consider giving to the Pathways program in honour of a friend or loved one who is living with Alzheimer’s Disease or another related dementia. Learn more about how to become involved here.

The Pathways Singing Program is currently in production and will be released in Fall 2015.

Singing in the delivery room

Tue, 30 Sep 2014 14:10:00 GMT

Music is used as a means of enhancing care in many contexts and may make an instantaneous human connection in the delivery room. That is why Dr. Carey Andrew-Jaja, aka “The Singing Doctor” provides the new lives he delivers with a musical welcome into this world.

For Dr. Andrew-Jaja, the delivery room is an opportunity to celebrate the miracle of life. An obstetrician who has delivered more than 8,000 babies, Andrew-Jaja sings a song to the babies he delivers, anything from Happy Birthday to What a Wonderful World. And he invites all attending in the delivery room to join in.

Dr. Andrew-Jaja is on staff at the Magee-Womens Hospital at the University of Pittsburgh’s Medical Centre . He says “when I’m singing to the babies, I’m singing to a future important person”. He believes each one is special and individual.

Dr. Andrew-Jaja was mentored in this tradition as a young resident by the physician he trained with.

Dr. Andrew-Jaja will be the opening keynote speaker at the Music Care Conference in Waterloo on Saturday November 15, 2014. For more information or to register, visit www.musiccareconference.ca

10 great reasons to come to Music Care Conference Calgary

dhageman@innovasium.com (Daniel Hageman) — Mon, 22 Sep 2014 14:38:00 GMT

Calgary, Alberta - October 25, 2014 Learn and experience how music is connected to our well-being throughout our lifespan.Listen to how local people in Alberta are using music in care:Jennifer Buchanan, President of JB Music and local guestsMusic and Parkinson's Disease with Dr. Bin Hu - Suter Professor for Parkinson's research, Director of Movement Disorders Program Hotchkiss Brain Institute, University of CalgayUsing Music in Palliative Care with Dr. Steve Mitchinson, Paul Pumbolt and Bev FosterSinging with no wrong notes with Melanie Boyd, Program facilitator, University of CalgaryEnjoy Inuit Singer/Songwriter Susan Aglukark live as closing keynote performer.Be inspired by keynote speakers Jason and Marjorie Crigler as they share their remarkable journey with Music and Stroke RecoveryBe entertained by local musical group: The Calgary Fiddlers.Learn how music is connected to our memories in Music and Dementia Care with Robin Rio, Associate Professor of Music Therapy, Arizona State University.Discover how you can use music more effectively in caring for your loved ones and clients.It's a great price! $115 early registration, seniors and students $95 including refreshments and lunch (plus tax)It's the first time, the Music Care conference, is coming to AlbertaNETWORK - make some new friends who share your music care passionFor more information and to register, visit: www.musiccareconference.ca

Music Care Stories: The impact of one volunteer

Thu, 04 Sep 2014 13:08:00 GMT

I am a professional pianist who volunteers at a local long term care home. When I began about five years ago, the then Activities Director told me that they had many musicians coming in to perform but – apart from the occasional singalong – had little in the way of interactive music experiences for the residents. We discovered a box of rhythm instruments (since augmented) which had long sat unused in a storage cupboard, and rather hesitantly I set out to see what could be done.

Now a couple of times a month I lead the residents in a 45-minute session we have dubbed (with apologies to Gershwin!) “I’ve Got Rhythm” – and indeed they do! After opening with a listening activity, we usually spend a few minutes playing “Name That Tune” as they guess the title of various familiar songs I play on the piano. Then we get out the instruments, which include hand drums, maracas, small egg shakers, bells, sticks, wood blocks, etc . The residents join in as I play a variety of marches or dance tunes. We experiment with varying the tempo or the dynamics, or work on “internal rhythm” when the piano cuts out for a few measures while the rhythm-makers continue with the beat. Sometimes I ask them to copy a particular rhythm that I demonstrate.

The reactions of both residents and staff are quite dramatic. An apparently unresponsive resident will begin to shake his tambourine vigorously as soon as the music starts. A staff member entering the room pushing a wheelchair may be dancing in time to our music. A new resident who was looking very sad is grinning broadly by the end of the session. The power of music takes over that room, and we all feel better for it by the end of each session.

Do you have a story about how music has impacted your life or the lives of people you care for? We want to hear it! Send your stories to stories@room217.ca

Singing at the threshold

Tue, 12 Aug 2014 04:00:00 GMT

The Threshold Singers are a calm and focused presence for many people at the end of their life journey. They offer gentle voices, simple songs, and sincere kindness to clients they meet.

Inspired through the life experiences of Kate Munger, the first Threshold Choir gathering occurred in the year 2000 in El Cerrito, CA. Currently there are approximately 100 chapters worldwide. Singing is offered as gentle blessing rather than entertainment.

The goal of the volunteer-based Threshold Singers is to bring ease and comfort to those at the threshold of living and dying. They arrive by invitation to a bedside, in groups of 2-4 singers. They choose songs to respond to the client’s musical taste, spiritual direction and current receptivity. Many of the songs are written by choir members. The group uses soft, lullaby voices and often sing in unison. Family members and caregivers are invited to sing along. A session typically lasts 20 minutes.

The Threshold Choir has locations through the USA and western Canada, and in Australia and England. To request the service of the Threshold Singers, visit their website and “request singers for someone.”

www.thresholdchoir.org

The Room 217 Foundation is pleased that Kate Munger will be one of the speakers at the 2014 Music Care Conference in Waterloo , Ontario on Saturday November 15, 2014. For more information, visit www.musiccareconference.ca

Introducing Memorial Music

Wed, 16 Jul 2014 15:04:00 GMT

Memorial Music.ca ^TM is Ontario's first free on-line directory of Musicians who specialize in playing music at bereavement functions such as Funerals, Burials and Life Celebrations.

Memorial Music also has song suggestions, links to YouTube samples, bereavement etiquette, and answers to any questions you have about adding live music to the farewell gathering you’re organizing.

SOLOISTS: Bagpipers, Pianists, Singers, Guitarists, Harpists, Violinists
DUOS, TRIOS OR LARGER: Any combination including Flute & Guitar, Vocalists with guitar, harp or piano, Choirs, Brass Fanfares, String Duos, Trios, Quartets or Ensembles, Chamber Musicians, or International Musicians.

You can have any combination of musicians you’d like: Solo, Duo, Trio, up to a full orchestra. Genres include Classical, Religious, New-Age, Baroque, Big Band Standards, Celtic, Folk, Mariachi, Jazz, Pop, Latin, Rock or even Dixieland.

Musicians set their own fees for performance, solo, duo or group. They will be happy to make recommendations and help you with scheduling music. Inquire with any of our musicians at: www.memorialmusic.ca/find-musicians--singers--choirs.html

We understand that there is not a lot of time available to organize a funeral or memorial after the loss of a loved one. The more information you tell your musicians about your gathering, the faster they can send you a quote or proposal for live music.

Please keep us as a resource in your files and tell your friends about us. There is no charge to use this site and musicians receive their listings for free. This service is generously provided privately by Directory Founder Katherine Thompson to help promote our musicians and make them available for you.

Include live musicians at any special farewell gathering. Check back for new additions.

Thank you so very much for supporting the Arts and Culture in Canada by including our Musicians at your event.

Thank you Room 217 for allowing us to share our resource with you!

R2R Program yields encouraging results

Thu, 03 Jul 2014 12:39:00 GMT

Room to Room (R2R) is a program targeted for Canadian Hospice Palliative Care programs and facilities generously funded by the GlaxoSmithKline Foundation. R2R is a controlled delivery and support process for HPC programs that want to integrate Room 217 music resources into their music care program. Phase 1 of the R2R program provided Music Care Kits to 41 HPC organizations/facilities. In Phase 2, 42 organizations/facilities were included in the Program. Many of the R2R participants tried to integrate an iPod shuffle loaded with the Room 217 Collection into their caring in this second phase.The combined results of Phases 1 and 2 in the R2R program shows that Room 217 music resources impact patient care for people who are dying in Canadian hospice palliative care programs and facilities in at least five ways:Improves quality of life by:Promoting sleepAdding a sense of peacefulness to the spaceReducing agitation and restlessnessMaking eating enjoyableAssists in relationship completion through:Release and closurePromoting presence even when no one was thereProviding intimate space between caregiver and loved one/clientDecreases feelings of isolation and fear by:De-stressing caregiversReducing anxietyMitigating resistanceHelps to meet psychosocial and spiritual needs by:Providing comfortEnhancing communication through reminiscenceCompanioning on the journeyProviding a backdrop for expressing grief and/or mutual supportSupporting reflection and meditationProvides distraction:From painThrough soothing relaxationBy providing another alternative (i.e. instead of TV)For a complete report on R2R Phase 2, click here.

Meet the people in Room 217

Tue, 17 Jun 2014 18:52:00 GMT

The heart and soul of the Room 217 Foundation is in our people. Each of us has our own story about how music has touched our lives and loved ones.

Staff

Marian Constable – Program Support
Debbie Devitt – Room to Room Coordinator
Bev Foster – Executive Director
Joanne Ingrassia – Pathways Producer and Creative Director
Sarah Pearson – Program Development Coordinator
Carolyn Simpson – Operations Manager and Music Care Conference Coordinator
Jane Twohey – Resource Development Manager

Board of Directors

Christine Lasky, Chair – VP Strategic Initiatives, Princess Margaret Cancer Foundation
Barbara Reynolds, Vice-Chair – Retired Pharmaceutical Executive
Rose Marie Grycaj, Secretary-Treasurer – Retired Elementary School Teacher
Dr. Amy Clements-Cortes, Senior Music Therapist Baycrest Hospital
Dr. Mary Jane Esplen, Clinician-Scientist UHN, Professor U of T Faculty of Medicine, ED DeSouza Institute
Bev Foster, Founder and Executive Director
Dr. Rob Foster, Founding Member
Murray McLauchlan – Singer/songwriter
Gord Simmonds – President, Lenbrook Industries Inc., Owner Belleville Bulls
Angela Solomos – Senior Director Corporate Partnerships, Habitat for Humanity Toronto
Dr. Lee Willingham, Associate Professor Music Education, Wilfrid Laurier University
**Founding Chair – Patty Bowman Kingsley served as Room 217 Foundation’s Founding Chair

Honouraries

Dan Hill – Singer/Songwriter
Dr. Larry Librach (posthumous) - Room 217 Foundation Director and Canadian Palliative Care champion

The Harmonica – An Adjunct to Pulmonary Health

Thu, 22 May 2014 14:44:00 GMT

Rawdon has used playing the harmonica to supplement his prescribed pulmonary rehab exercises since his own lung-transplant procedure in 2008. He noticed significant results. For example, his lung capacity scores increased if he played his harmonica during incentive spirometer testing. Now he runs a support group using the harmonica. Larry is shown in the above YouTube video introducing the harmonica to recent lung transplant patients and their caregivers.

For more information on Harmonicas for Health: A Guide to Breathing Better by Mary Jane Gormley and Larry Vesely, contact HEARTEAM at the Indiana University Bloomington Hospital, P.O. Box 1149, Bloomington, IN 47402.

SAVE THE DATES! TWO MUSIC CARE CONFERENCES

Wed, 23 Apr 2014 18:43:00 GMT

Music Care Conference is happening across the country! With themes of Music Through the Lifespan in Calgary, Alberta and Singing in Care, in Waterloo, Ontario we hope you will be able to join us at one of these locations.

Room 217 is offering Music Care Conference 2014 Calgary in partnership with JB Music Therapy, University of Calgary and the Laurier Centre for Music in the Community. Saturday October 25, 2014

Early bird registration is $115 + GST and opens May 1 at www.musiccareconference.ca . Student and senior rate is $95 + GST.

Early bird registration is $115 + HST and opens May 1 at www.musiccareconference.ca . Student and senior rate is $95 + HST.

Silver Song Clubs – Participatory Singing Groups for Seniors

Tue, 08 Apr 2014 17:45:00 GMT

‘Silver Song Clubs’ are the core program of nonprofit Sing For Your Life Foundation, BC, active in British Columbia since 2009. Participatory singing and music making sessions are active in the community for seniors aging at home.

The Clubs bring individuals aged 65+ (with a care giver, if appropriate) together at a community venue twice a month for a 90-minute fun and engaging session. Led by professional musician facilitators, trained in the proprietary program, the sessions engage seniors in a variety of participatory singing and music making.

The program activities are designed to help increase breathing, encourage the use of fine and grand motor skills and stimulate reminisce through the sharing of stories and past experiences. The sessions are suitable for seniors of all cognitive functioning levels including those with early dementia. Each session increases in challenge by integrating hand gestures, layering, rounds, and the playing of percussion instruments and hand chimes.

The program was developed by the originating UK charity in 2005 and is embedded in research undertaken by the Sidney De Hann Research Centre for Arts and Health at Canterbury Christ Church University, UK. Linked benefits to the program, substantiated through ongoing research in the UK, include: increased morale, less loneliness, improved respiratory function, improved overall rating of physical health, fewer doctor visits, fewer unscheduled hospital visits and fewer instances of falls.

Currently three Silver Song Clubs are running in the Kelowna area and expansion in BC and elsewhere in Canada is planned. There is no cost to participants to attend.

In addition to the community based program, the BC Foundation operates a social enterprise initiative that combines the Silver Song Club program with highly portable technology for use within long term care establishments and seniors’ centers. Mid 2014 the programming will also be available via the Sing For Your Life Music Box App, an assistive technology app for tablets and smart phones.

Learn more: www.singforyourlife-canada.org

Notes:

Submitted by Nigel Brown, Executive Director, Sing for Your Life Foundation, BC

Making Music Care History: First MCCP Pilot Level 1 a Resounding Success!

Fri, 28 Mar 2014 11:32:00 GMT

The Music Care Certificate Program is a new program at Room 217 to help train caregivers in the practical use of music in their care.

Learn more here: www.room217.ca/music-care-certificate-program

Last weekend, 15 participants and three instructors gathered on the 18th floor of Mount Sinai Hospital in Toronto, for the inaugural Music Care Certificate Program pilot Level 1. Some had driven 6 hours to be there, others were a subway ride away. People gathered from across disciplines: volunteers, recreation assistants, nurses, music therapists, musicians, family caregivers, mental health workers, administrators, and teachers were just some of the backgrounds represented in our group. We gathered to explore a common goal – to understand how to better use music in our care practices.

The weekend was full of learning. As the curriculum got rolled out for the first time, participants were immersed in new concepts such as entrainment, sound environments, and vocalizing as part of care. Ideas around health-care reform and caregiver burnout were discussed. Fundamentals of music – rhythm, melody and timbre – were explained and workshopped.

The weekend was also full of experience. Listening exercises, breathing and vocal workshops, percussion groups and songwriting projects, were just some of the ways that we delved into the world of music, feeling for ourselves the impact of music on our bodies, souls and communities.

The weekend was full of sharing. Laughter and conversation abounded, new friendships were formed. Participants exchanged stories from their care practices, asked each other questions, and supported one another generously through this packed two-day learning adventure. Participants shared visions for music care initiatives, dreams for their own personal growth and the growth of their care facilities using music. As the weekend emerged, key concepts sank in. Ideas went from the brainstorming-phase to the proposal-stage.

And the weekend was full of music. Some participants gave brief musical performances, others shared recordings that were meaningful to them, giving us all a deeper insight into each other that only music affords. Group music-making, singing, listening, and improvising – regardless of everyone’s musical background – brought joy and deeper meaning to the weekend. Music brought us moments of reflection, calm, humour, and feeling.

And that is ultimately what brought us together in the first place. We all know that music impacts people in meaningful ways. Understanding how to bring that into caring contexts effectively was the driving force behind the course.

The enthusiasm and excitement generated from this inaugural course is an exciting taste of what’s to come. The hunger for more training in music care has been evident at Room 217 events for years, and with this course we can start to meet that need more directly. And the feedback speaks for itself: participants spoke overwhelmingly about wanting to sign up for the next course levels, and for the rich learning that had just occurred. Practical next steps for integrating music care into practice were solidified. Many participants expressed how much more confident they felt now, going back into their care spaces and bringing more music into their programs.

A big congratulations to our very first graduating class of the MCCP Level 1! We can’t wait to do it again at Tyndale in two weeks, and for many more courses to come.

Here’s what some of the participants said:

25 ways people use Room 217 music

Wed, 12 Mar 2014 04:00:00 GMT

1. Enroute from chemo

2. In grief and bereavement

3. To promote sleep

4. To reduce agitation

5. In care baskets and comfort carts

6. To help complete relationships

7. In surgical recovery rooms and in waiting rooms

8. To accompany exercise like Gentle Gym, Yoga or Pilates

9. To support people who are dying

10. In dementia care, especially at mealtimes and sundowning

11. As background ambiance in organ donation transition process

12. For meditation and contemplation

13. To support therapeutic touch and massage therapy

14. For tinnitus relief

15. As In Memoriam gifts

16. As a tool in psychotherapy for reminiscence and life review

17. To de-stress caregivers

18. In self-care

19. In classrooms to help create a calm atmosphere

20. For pain distraction

21. As a library loan resource

22. To accompany the passing of a pet

23. In coma stimulation

24. In celebration of life or remembrance services

25. During care visits

Room to Room (R2R) Phase 2

Tue, 04 Mar 2014 21:27:00 GMT

The Room 217 Foundation, with the generous support of the GlaxoSmithKline Foundation, has implemented the R2R program-Phase 2 in more than 40 Hospice and Palliative Care programs across Canada. Phase 2 has introduced digital delivery of Room 217 resources via ipod shuffle as well as expanded HPC sites into palliative care units in hospitals and long term care homes. Here are comments from participants in R2R-Phase that have been reported to Debbie Devitt, R2R Program Facilitator.

5 Ways the R2R program supports quality of palliative care

The R2R program was developed with the purpose of extending delivery and accessibility of Room 217’s benefit‐designed music resources to people who are dying and their caregivers in Hospice Palliative Care programs and facilities across Canada. Hospice Palliative Care is one of the most vulnerable care sectors in Canada as well as one of the least funded. R2R provides an opportunity where funding to utilize Room 217 music resources is removed as a barrier. In Phase 1, 42 programs and facilities participated in the program. In Phase 2 an additional 42 Canadian sites joined the program. The overwhelming feedback is that Room 217 music is supporting quality of life and quality of care at end of life. Here is what the R2R participants are saying about the R2R program.

For more information on R2R, contact Debbie Devitt at R2R@room217.ca

Music Care Stories Series: The positive impact of music in long term care settings

Wed, 19 Feb 2014 05:00:00 GMT

The Music Care Stories Series features interviews, guest writers, and other narratives from the front lines of caregiving. Told from the perspective of caregivers and receivers, these stories capture the unforgettable moments where music steps in and changes lives.

Some Takeaway from Liza's Story:

Do you have a story you’d like to share? Email stories@room217.ca with a short description of your experience. We will determine how best to share your story in this series.

Pete Seeger: a warrior of peace

Thu, 06 Feb 2014 17:07:00 GMT

This is my mother’s Facebook status update from January 28, 2014. When I awoke and read it, I knew right away: Pete Seeger was dead.

How is it that a man who hosted warm-and-fuzzy children’s sing-along concerts and penned countless Boy Scout campfire songs, could also be blacklisted from American radio and television? How could such a sweet-voiced minstrel be also such a great threat to politicians and leaders?

Because a man who can use music to inspire, unite, rouse and mobilize a people, has a completely different kind of power than those who carry the keys to nuclear arms.

Unlike my mother, I did not grow up during the civil rights movement or the war in Vietnam. I did not experience the transformative power of Pete’s protest-songs, or attend children’s concerts in Detroit’s union halls. But I do experience this very powerful force – that which made Seeger’s music banned for so many years – in the experiences I have in my work as a music therapist in oncology and palliative care.

Today at work, a doctor on the oncology unit stopped to say hi, and said, “music therapy…so valuable for the patients!” I smiled and said, “yes, music is very powerful. And today’s a sad day, what with Pete Seeger and all.” The doc and I began chatting about what a powerful presence Seeger was in the world. We reflected on how the same power that can mobilize a nation to protest a war, can help bring grace and meaning to a family in the final hours of a patient’s life.

One of Pete’s most magical qualities was his ability to get a huge group of people singing. In a culture where so many people are convinced that they ‘can’t sing,’ to get a group of strangers singing together is quite an accomplishment. And singing unleashes something, which is perhaps why it is also so feared. Singing unleashes joy. Connection. Humanity. And that’s the stuff that topples oppressive regimes, that breaks down walls of tyranny or injustice. That’s the stuff that gets people banned from the radio.

It is chilling to think about the warmth and simplicity of Seeger’s music alongside the deep politics of it. His life serves as an example of how music brings people together in their shared humanity. Be it in a crowded hospital room or a crowded union hall, the simplest of music can unite us in a deeper sacredness. I have carried the sense in my heart today that a bright light in the world is gone. Seeger - like John Lennon, like Mandela, like the artists and musicians of the Terezin concentration camp – was a true warrior of peace.

Music Care Stories Series: Bearing Witness to the Power of Music

Wed, 22 Jan 2014 20:28:00 GMT

Science and research continually proves that music care works. It’s music care stories, however, that help us understand why.

The Music Care Stories Series is new to this blog, and will feature interviews, guest writers, and other narratives from the front lines of caregiving. Told from the perspective of caregivers, care recipients, musicians, health care professionals and family members, these stories capture the unforgettable moments where music steps in and changes lives. These stories reveal the magic and the mystery of music care. Do you have a story you’d like to share? Email stories@room217.ca with a short description of your experience. We will determine how best to share your story in this series. Last fall, Rami Shami of the Dorothy Ley Hospice Centre in Etobicoke, ON, told the Room 217 Foundation about an extraordinary music care moment. It took place in the final hours of one hospice resident’s life, and has changed the whole centre’s view on the importance of music care.

“We had a resident in the hospice who was in a bit of a state,” Shami said. While all patients admitted to a hospice are expected to die within weeks, the staff are typically able to make the residents comfortable with the right palliative pain treatment. However, for this one woman, nothing seemed to work.

“She had been in a lot of pain and agitation for two weeks,” Shami recalled. “We were at our limit of how much we could offer her.”

Witnessing such pain in another human is distressing itself. “It was a struggle for the nurses to see this much suffering, especially since we couldn’t do anything anymore.”

The staff tried everything to make her comfortable, and to support her in the transition to death. They asked the family to call her, to tell her it was okay to let go now, giving her permission to pass on. “Usually the person dies very quickly [when the family calls], but even that didn’t work.”

Then someone on staff remembered music. The hospice had been recently gifted some Room 217 CDs , which were still unwrapped. Desperate to try anything for this woman, staff decided they might try these CDs. The discs were quickly retried and opened, and popped into a player by the suffering woman’s bed. They pressed play.

“Literally after 5 minutes of music,” said Shami, “her agitation had decreased by 90%, and her expression and moaning of pain had declined by 90%.”

The staff were dumbfounded by the sudden transformation of this resident’s pain state. “We couldn’t believe this was happening right before our eyes,” Shami described.
“The experience was very stark. She was dead within half an hour.”

The Dorothy Lea Hospice has since expanded their music collection. Recognizing the vital necessity of music in the dying process, they have invested in resources, drawn on volunteer musicians, and are partnering with a University of Toronto research project into music in palliative care.

“We have no other explanation except that it is the music,” Shami said about this one resident’s dying experience. “We bore witness to it.”

As told by Rami Shami of the Dorothy Ley Hospice to Room 217.

Music and Dementia Care: 5 Tips for Caregivers

Thu, 09 Jan 2014 22:00:00 GMT

Dr. Oliver Sacks , a neurologist and lover of music, is convinced of the music’s unique capacity to connect a person with dementia to their preserved self. He says in his book Musicophilia , “It is the inner life of music which can still make contact with their inner lives, with them; which can awaken the hidden, seemingly extinguished soul; and evoke a wholly personal response of memory, associations, feelings, images, a return of thought and sensibility, an answering identity.” Whether it is because music is used as a trigger, or because it’s a non-verbal means of expression, it has the ability to re-connect neurological pathways that may be intact.

Music can also be used to connect the person living with dementia with their caregivers. In this way, music can improve quality of life, enhance intimacy and communication. What persons living with dementia need and what caregivers seek are activities that give meaning. Music, for most people, is valued. It is my firm belief that we can all use music in care. While there are scopes of practice that have expert training i.e. music therapy, every one of us can learn to integrate music into our regular practice of care. Using the pneumonic SMILE, here are 5 ways you can incorporate music into dementia care:

Sing. You don’t have to be an opera singer or rock star to sing during care procedures. Singing doesn’t mean performing, it means connecting. Think about singing as warm air, vibrations, human contact, PRESENCE. When to sing? During care procedures like bedside transfers, bathing, mealtime, taking medications. You may sing in order to cue these things, to mitigate fear and anxiety. Singing is simple, humming is simple still. It can be done wherever you are. You are focused only on the melody (tune) of music. You can use words or sing the tune only using syllables like LA LA LA. Choose a song that you are familiar with and one that can be used in a number of circumstances in a number of ways. Try LEAN ON ME.

Make musical visits . Musical visits can make good sense, especially for people who enjoy music. A musical visit doesn’t have to be long, 8-10 minutes would be appropriate. Use this format – each time because repetition is good.

Greet – Hello Jenny J (insert person’s name), how are you today? (use the tune Frere Jacques, or make up your own)
Move – depending on condition of person with dementia, take their hand, arm and move it or dance while singing la la la to a more upbeat song i.e. You Are my sunshine
Sing – One Song method – show you that in a moment Choose one song for yourself – it’s your song. You will master it. You will be known for it. Your patients, residents, loved ones, will connect you with that song. When they hear it, they know you’re coming. OR Choose one song for those being cared for. You use it with every patient or resident your care for. It won’t get old because you will change the volume, speed, intensity according to the situation.
OR
Choose one song per task . i.e. bathing – rubber ducky, transfer – humming lean on me, mealtime – I like to eat apples and bananas, bedtime – lullaby, daytime – you are my sunshine
Music-making - with an instrument – I would suggest an egg shaker. It’s small, inexpensive, can go in your pocket, can be easily grasped, it’s sound is gentle gentle and vibrations can be felt Close – same tune and format as Greet
except with something like “It’s time to say good-bye”

Individualize. Evidence suggests that familiar, preferential music is the most therapeutically effective in most situations. A group of nurses began to research the impact of individualized music on their patients. Gerdner and her group researched how personalized music would impact patients. They were interested in how music could modify behaviors. She has developed a guideline for using individualized music. ( Evidence-based guideline. Individualized music for elders with dementia . Gerdner LA, Schoenfelder DP.J Gerontol Nurs. 2010 Jun;36(6):7-15.)

Dan Cohen, a social worker has developed the music and memory project , also known as the ipod project, has developed a protocol for personalized music being delivered through ipods and headphones. Playlists are developed using specific music that is preferential to the person with dementia, specific tunes and specific performers. Often, family members help provide the information for the playlist development. With digital technology so readily available, music can be delivered via an mp3 player or ipod, an ipad. Using headphones make the delivery personal and mobile.

Look for resources. The ipod project has become a popular way of music care delivery to persons with dementia and can be used in home settings and healthcare facilities. Alzheimer Society Toronto has begun an aggressive project hoping that 10,000 ipods will be distributed and used by PWD over the next 3 years. The Room 217 Music Collection can now be delivered in its entirety on ipod shuffle. Meaningful musical activities include sessions with a music therapist, targeting specific outcomes using music. Snoezelen rooms, or sensory stimulation rooms, carts, devices may use music to help persons with dementia reconnect with their surroundings or to reduce anxiety. Singing programs like sing-alongs are becoming more popular but are dependent on people who are confident in music to lead them effectively. A number of LTC residences use videos of entertainers singing familiar music. Some LTC homes have their own singalong programs facilitated live or with recordings. The Alzheimer’s Society in England has an effective program called Singing for the Brain, a weekly gathering of persons with dementia and their caregivers. It is meant to be a safe place for connection around music. Room 217 has 3 videos called Recollections that have been created especially for visual and aural stimulation for persons living with dementia. They are meant to catalyze stories and conversations. Room 217 is developing a series of sing-along episodes on video that will have accompanying activities and training. We are currently in production and hoping to launch Pathways in the fall of 2015.

Evaluate. My favorite educational resource for caregivers looking to integrate music into their regular caregiving routines is a user-friendly book called Connecting through music with people with dementia by music therapist Robin Rio. It is a practical guide for caregivers with helpful tips, checklists and excellent background material. I’ve adapted one of Robin’s checklists, for the E of SMILE. When you are using music in care, you need to access and evaluate its impact. Music may not be for everyone. It might have adverse effects. By evaluating the effects of music on the person with dementia, you will be able to gauge how best to deliver music care for optimal impact. Here are some indicators for you to be aware of:

Christmas in September

Thu, 19 Dec 2013 05:00:00 GMT

Christmas music: a gateway to emotions of the season

Thu, 12 Dec 2013 12:17:00 GMT

The music of the holidays is one of the most emotional parts of this season for many people. As a music therapist, many clients I see right now express a desire to sing and play Christmas music. Though I do not come from a Christian faith background, twenty-two years of singing in choirs – many of them church choirs – has given me a thorough understanding of Christian liturgy and musical traditions. The music of the Christmas season is nostalgic, meaningful, and mysterious to me. Much of this music, in my opinion, evokes the magic of the solstice season that transcends faiths and cultural backgrounds.

In a recent session with a client, we sang and discussed music for the Advent season (the liturgical season in the weeks leading up to Christmas Day). The client was explaining his thoughts on what Advent means to him, discussing in particular the Biblical quote from Isaiah: “the people who walked in darkness have seen a great light.” What does it mean to walk in darkness, only to suddenly experience light? The client shared his insight on this: it’s the absence of hope, he said, that makes the sudden appearance of hope so meaningful. That tension between hopelessness and hope is, for him, at the heart of this season. We then sang “Oh Come, Emmanuel” together – a classic advent hymn that evokes feelings of joyous longing with its minor, chant-like melody.

Advent music traditionally can be quite haunting, mournful, and mysterious. In the Anglo-Catholic tradition, masses during Advent are always sung in plainchant, rather than in full joyous polyphony (the only other liturgical season where the mass is chanted is Lent). That simple chant line evokes a sense of barrenness and longing – much like the barrenness of the earth during these dark days, as we fill our windows and homes with lights in anticipation of festivity.

The client and I ended our session singing through the popular Christmas carol “God Rest Ye Merry Gentlemen.” This is another minor melody that, by contrast, sends a message about joy and happiness. The chorus, in a sad, almost urgent minor, wishes its listeners “glad tidings of comfort and joy.” We closed our session discussing the oddness of wishing tidings of “comfort” and “joy” with a melancholy-sounding melody. Again, the tension between hopelessness and hope rose to the surface. Wishing our loved ones “comfort and joy” has the shadow of joy’s absence. In the wishing of these blessings, we acknowledge the fragility of these experiences.

Those of us in caregiving roles may experience the fleetingness of comfort and joy on a daily basis. Discomfort, pain, loss, grief, and despair are some of the most common reasons people may reach out to Room 217’s resources. This joyous season, for all its merriness, carries with it also the recognition of suffering and sadness in the world, and often in our own lives (recently-bereaved people often speak of the holidays as being some of the most difficult times in their grief). Christmas music can be one of the most powerful gateways into the many emotions of the season. It can acknowledge the darkness, pain, and hopelessness when the holidays are evoking strong emotions. And through those emotions, the music of the season – like all music - can also bring us true comfort and true joy.

Announcing 2 New Music Care Education Programs in 2014

Fri, 29 Nov 2013 00:40:00 GMT

2014 marks an exciting year for Room 217 Foundation, with the launch of two new education opportunities: A Music Care Certificate Program and a FREE Webinar Series.

The Music Care Certificate Program will train caregivers of all kinds to be confident, skilled and informed deliverers of music care. And a free webinar series will offer the same quality guest lectures we’ve come to know at Music Care Conferences, right from the comforts of your own computer. Registration is now open for both these programs!

Music Care Certificate Program

This 3-level program will train caregivers to become competent in using practical music care skills, build confidence using music, and apply music care skills to their practice.

Level 1 PILOT COURSE will be offered for the first time in the Spring of 2014. This 12 hour course will prepare you to:

Choose from either Toronto or Kitchener location . Click here for more information.
REGISTER NOW

Music Care Webinar Series

Topics include:

Click here for more information.

For more information, contact Sarah Pearson, Program Development Coordinator mccp@room217.ca

MCC Toronto - Hope, Connection and Empowerment

dhageman@innovasium.com (Daniel Hageman) — Thu, 21 Nov 2013 18:57:00 GMT

On Saturday November 9, 2013 more than 300 people gathered at the Faculty of Music, University of Toronto, to learn more about issues and themes in Music and Care at Room 217's Music Care conference. Catch a glimpse of the Conference here:

Saturday's program mixed an evidence-based approach with personal stories of music care. Keynote speakers included Jason and Marjorie Crigler, Jennifer Buchanan and Dan Cohen. Workshops were presented around various aspects of music medicine, music therapy and music care. Canadian musician, Liona Boyd brought greetings on behalf of Room 217's Artists' Circle. A choir of residents from an Estonian long term care home shared in a choral presentation and Singer/Songwriter Murray McLauchlan ended the day with stories and song. Bonus this year was that participants were also able to take part in 3 Music Medicine Symposia hosted by U of T's Music and Health Research Collaboratory ( MaHRC ).

Here's what participants are saying about the Music Care conference:

"Incredible conference, excellent variety in speakers and presentations. Every session included a quality presentation was rich, professional, and knowledgeable speakers. The entire conference was run extremely professionally and well organized. It was my first time here at the conference, and I had an amazing time. I will definitely be attending again next year."

"I find the impact of music on people with dementia so fascinating. To be surrounded for the day with so much positive energy reinforced for me why it is so exciting. The day was superb!"

"The MCC conference was excellent. I wasn't sure what to expect so I was blown away by how something so simple as music which everyone has grown up with could have such dramatic impact in healing."

"It became evident to me that choral singing has great potential to promote well-being for elders. For well-being we need identity, meaning, connectedness, joy, growth, autonomy and security. Isn't it interesting how being a member of a choir can contribute to all of those components of well-being?"

"The key learning for me was not to give up hope and that people really care."

"I felt empowered to experiment in my ministry with Alzheimer's patients and those with dementia. To try to use music more, get out my guitar and try new ways to share music with people. Keep going. Keep trying different approaches...let my creativity flow more into my work."

LOOKING AHEAD TO 2014
JOIN US IN 2 LOCATIONS

October 25, 2014 - Music Care Conference, Calgary, AB
November 2014 - Music Care Conference, Ontario

Introducing Room 217’s Artists’ Circle

Thu, 07 Nov 2013 04:00:00 GMT

The Artists’ Circle is a platform for Canadian industry musicians to partner with the Room 217 Foundation by sharing their own story of how music has or is making a difference to their health and well-being. The program showcases the stories of Canadian musicians where music has been a means of self or other care in their personal lives. The Artists’ Circle will bridge the worlds of music as entertainment and music as care. People will be encouraged to draw on music as a source of strength and hope in their journey through the inspirational stories of musical artists.

The inaugural group of musicians in the Artists’ Circle are: Liona Boyd, Dan Hill and Amy Sky.

We are delighted that Liona Boyd, “The First Lady of the Guitar”, will be representing the Artists’ Circle at MCC Toronto 2013 as we launch the program. She will share her own personal journey with music and how she has coped with the diagnosis of musician’s focal dystonia.

Ehatähed and the health benefits of group singing

Wed, 23 Oct 2013 20:27:00 GMT

Is singing in a choir good for your health? One group of older adults certainly thinks so. Ehatähed is the residents’ choir at Ehatare Retirement and Nursing Home in Toronto. All residents of Ehatare are Estonian with most having immigrated to Canada following World War II.

Singing together has been an historical community practice in many cultures around the world. In Estonia, it is integral. Estonia is a small nation that is said to have “sung itself to freedom” during the Singing Revolution. Estonians love music.

Membership in the Ehatähed choir is a way of life for many of the residents and inspire those around them as they continue to make music an important part of their lives. Founded almost seven years ago, and conducted by Mrs. Heli Tenno, the average age of the choir members is 94. The choir sings in Estonian at Ehatare special events as well as performs at other nursing homes. View their recent YouTube post here:

The health benefits of choral singing are well documented. Dr. Victoria Meredith describes a number of links to choral singing and health and well-being especially for the aging person :

A recent study out of the University of Gothenburg in Sweden, provides some clues as to why group singing may be good for the heart. 15 singers were asked to perform a number of singing tasks together, from monotone humming to singing a meditative mantra or Christian hymn. Their vital signs were monitored throughout. Findings showed that choral singing increased the amount by which an individual's heart rate varied. In this way, choral singing may confer a potential health benefit because low variability in heart rate is known to be related to high blood pressure says lead researcher, Bjorn Vickhoff. Findings also have researchers speculating that choral singing may achieve calming effects as the singers’ heart rates fluctuated in synchrony when they sang structured songs. This is linked to an effect known as respiratory sinus arrhythmia when the heartbeat varies in synchrony with breathing. According to Vickhoff, this coupling can have a soothing effect, much like meditation.

So it’s not surprising that group singing is on the rise. According to Chorus America, 32.5 million adults sing in choirs, up by almost 10 million over the past six years. Choirs exist in churches, but there are community choirs springing up including gospel groups, show choirs, Glee choirs and singing groups in health care settings, like at Ehatare.

I’m looking forward to hearing Ehatähed at the Music Care conference in Toronto on November 9. They are an inspiration and encourage me to keep singing, especially with other people. It’s good for my health!

Ehatähed will be sharing 3 songs in the morning session before Dan Cohen speaks on music, memory and the ipod project. For more information on the Music Care conference or to register, visit www.musiccareconference.ca

How Music Makes Us Human: a music therapist's night in the ER

Thu, 10 Oct 2013 16:00:00 GMT

I know exactly the moment that I decided to become a music therapist. That moment was not at an information session for a graduate music therapy program, or watching a YouTube video of hospice music therapy work, or shadowing a music therapist on her shift in a Long Term Care facility - though all of those experiences definitely contributed to my interest in the field. The moment I knew I wanted to be a music therapist was at a hospital, where I was the patient.

I was diagnosed with Type 1 diabetes when I was 26 years old. Type 1 is a manageable disease, but it requires a lifetime of shots, blood checks, carb-counting, exercise management, and expensive medication and equipment to stay alive. On a typical day, I test my blood sugar 11 times and give myself 6 shots of insulin. While I run long distances, bike to work, and eat mostly local organic foods, I still have to calculate every morsel of food and calories burnt from exercise in order to maintain a stable blood sugar.

At the time of my diagnosis, I was working as a freelance writer and musician. Earlier that year, I had applied for a master's degree in music therapy; I wasn't sure if I actually wanted to go through the program, but the profession fascinated me and I thought it might be time to take my career to the next level. Days before I was diagnosed with Type 1, I got a letter in the mail accepting me into the program. All week I'd been preoccupied with thoughts about whether or not to quit my jobs, move provinces, and pay tuition in order to study music therapy. Needless to say, getting diagnosed with an incurable illness gave me something else to think about.

I was diagnosed in the spring of 2010. After experiencing many weeks of debilitating fatigue, dizziness, and weight loss, I had visited my family doctor. A quick blood test revealed that I had dangerously high blood sugar, and needed to get to an ER at once. It was there that I learned that I had diabetes, and would be on insulin shots for the rest of my life.

Being diagnosed with a life-changing illness can trigger a host of overwhelming emotions. For me, numbness was the strongest thing I felt. Lying in a hospital bed for two days, hooked up to machines and getting shots every hour, I tried to absorb information about my new disease, and what my life would look like from now on. Mostly, I just lay there, looking at trashy magazines my mom had brought me, waiting for the next nurse to come draw blood.

It was that first night in the hospital where something dramatically changed for me. I had just been woken up for my hourly blood-draw, and couldn't fall back asleep. The person next to me was experiencing some sort of pain crisis, and the ER was generally a busy, noisy place to have a good night's sleep. Out of habit, I began humming a song under my breath (I think it was Sarah Harmer's "Basement Apartment"). Suddenly, I felt the tide of tears build up inside of me. My whole body, it seemed, was finally experiencing emotion. It was as if the deeper breathing and bodily vibrations of just this simple humming was enough to release all the fear, sadness, grief, and shock of my new diagnosis. Singing, even so softly and for just a moment, made me feel human again.

It was too much. I knew instantly that I had to stop singing. The depth of emotion I was accessing was too big for this ER. If I opened that floodgate of feeling, there would be no one there to help me through it. And I could not go through this swampland of feelings alone.

That's when something crystalized for me: this hospital needs more music therapists, I thought to myself with a clarity uncommon for 2 am. It needs more music therapists so that people can safely fall apart when they need to. That is the moment I knew that I would become a music therapist. And it was no longer a question of whether I could afford to be a student for two years, or whether I wanted to change careers. It was that there was a need that I could help fill.

I often come back to that story when I think about my work as a music therapist. It helps me remember how powerful music can be in the most vulnerable moments of our lives. Music has the incredible power to connect us to our humanness, even in the most dehumanizing of spaces. And sometimes, those feelings can be overwhelming.

I am what we call in patient-centered-care circles "a hybrid": I am a health care professional and a patient. While I can be visiting with a client one moment in the waiting room of a chemo infusion site, the next day I can be treating a low blood sugar, waiting in my endocrinologist's office for my quarterly checkup, or fighting with an insurance company to cover my life-saving medication. While I am grateful that I do not live in a nursing home, or have to spend extended time as an in-patient, I also recognize how my daily experience as a patient helps me be a better therapist.

My story from the hospital reminds me of how dehumanizing disease can be. It reminds me of how easy it is to lose one's identity in a hospital bed. And it reminds me of what a powerful gift music can be in the most vulnerable moments of our lives. It makes me feel incredibly grateful for the career I am in.

Sarah Pearson is the new Program Development Coordinator for Room 217. She brings her experience as a music therapist and not-for-profit communications specialist to this new role.

Three Music Medicine Research Symposia, November 8 & 10, 2013

Wed, 18 Sep 2013 04:00:00 GMT

Dr. Lee Bartel , Professor and Associate Dean of Research – Faculty of Music, U of T, and Acting Director of the Music and Health Research Collaboratory (MaHRC), University of Toronto. Click for more information on MaHRC,its vision and goals.

For the first time, the Music Care conference will offer a rich array of research-oriented, topical symposia, as a result of the collaboration with the University of Toronto, Music and Health Research Collaboratory (MaHRC). The three topics for the symposia are potent for music care and include:

Music and Neurological Rehabilitation

Music is proving to have an important role in stroke rehabilitation, in alleviating symptoms with Parkinson’s, in arousing consciousness and memory in Alzheimer’s. Further research into even more precise applications are underway and will be described at the symposium on Music and Neurological Rehabilitation.

Music Medicine and Quality of Life

Many people have experienced the mood “lift” we get from music and this can be refined and systematically explored. Approaches will be presented in the Music and Quality of Life Symposium.

Music Medicine and Pain

Music can serve as a distraction and thus minimize pain perception but recent research at MaHRC points to a much more foundational theory for the effect of sound on neurogenic pain like Fibromyalgia. This research will be shared at the Music and Pain Symposium.

Not your typical academic research conferences, these symposia seek to strike a balance between looking at the latest research in the field, but also looking forward to application and future research.

Each symposium will review the “state of the art” in research in each field, present current research studies underway, and each end with a discussion moderated by noted Toronto rehab cardiologist Dr. David Alter focusing on future directions in music medicine research.

A panel of international experts in music and health will discuss possibilities for music in that field. Featured presenters include:

Russell Hilliard PhD, LCSW, LCAT,MT-BC is the National Director of Supportive Care, Research, and Ethics of Seasons Hospice & Palliative Care based out of Chicago, IL and the Founder of the Center for Music Therapy in End of Life Care. He is the author of the text, Hospice and Palliative Care Music Therapy: A Guide to Program Development and Clinical Care.

Vera Brandes Director of the Research Program in Music-Medicine, Paracelsus Medical University, Salzburg, Austria. Vice-President of the International Association for Music & Medicine. Her research has been highly successful in depression and is currently working on pain as well as Alzheimers.

Jaakko Erkkilä is Professor of Music Therapy at the Department of Music at the University of Jyväskylä (UJy, Finland). He has a qualification of psychotherapist and he is trained as a music therapist from Sibelius Academy (Helsinki, Finland) and UJy. He has lead an International group of universities in a creative study of the impact of engaging in improvisation on depression.

Dr. Ralph Spintge MD Director of the Department of Algesiology and Interdisciplinary Pain Medicine and the Regional Pain Centre DGS as well as Professor of MusicMedicine at Sportklinik Hellersen, Lüdenscheid University for Music and Drama HfMT Hamburg; President of the International Society for Music in Medicine; Co-Editor in Chief of the Journal of Music & Medicine. He will present an overview of music and pain research.

Joanne Loewy DA, LCAT, MT-BC. Director of the Louis Armstrong Center for Music and Medicine, New York; Co-Editor in Chief of the Journal of Music & Medicine.

To register and for session details visit www.musiccareconference.ca

Learning from Larry

Wed, 28 Aug 2013 16:43:00 GMT

Earlier this month, Canada lost a great Canadian. Dr. Larry Librach, MD was a palliative care champion and mentor to many across this country. A full list of Larry’s professional accomplishments can be found here at the Temmy Latner Centre.

The Room 217 Foundation lost a valued Board member.

I first met Larry in 2005 at his Temmy Latner Centre (TLC) office in Toronto. As a “newbie” to the Hospice Palliative Care (HPC) world, I could see that Larry was an in-demand kind of person. Yet I felt like he had all the time in the world in that hour we met to explore the idea of “comfort music” in palliative care and the Room 217 concept. He knew the need and liked the idea.

His warmth, encouragement and sense of presence continued over the next several years as we would meet again at provincial ( NHPCO ) and national ( CHPCA ) HPC conferences. He always showed interest in how things were developing. In 2010, his eyes danced as we envisioned what a broader music care education program for caregivers and health care providers might look like.

I’m not sure that Larry was an avid music lover, but he believed that music could support someone at end of life and that it could enhance quality of life. In June 2011, Larry joined the Board of Directors of the Room 217 Foundation and contributed on both the Fundraising and Education Committees. Grassroots, ground up work was no stranger to Larry.

While thousands of Canadian health-care providers and people around the world have gleaned their knowledge of palliative care medical practice from Dr. Librach, my learning from Larry has not been about pain and symptom management (although I did sit in on one of his constipation and opioid presentations.) For me, learning from Larry has been more about human character, the personal values that shape attitudes and behaviors.

In his living, Larry taught me about the value of perseverance . Vision that benefits dignity, especially at end of life, is worth working at. He modelled this over several decades as he pioneered palliative care practice in its humble beginnings in Ontario, across Canada and beyond.

Larry showed me that collaboration is the way work needs to be done. Vital to the collaboration is respect, nurtured over time, bound by shared conviction, seasoned with care and communication.

Larry reflected a positive attitude . This was neither push-over nor Pollyanna; it was an outlook. Larry was a realist who consciously decided not to waste his energy being overly frustrated, angry or discouraged. He had a great sense of humor. This was palpable as he served on our Board.

In his final months, Larry showed me what was most important – his cherished family, his Jewish roots, and living each day as fully and meaningfully as he possibly could. For Larry, legacy encompassed more than professional achievement. He wanted to be successful in his most intimate relationships. I saw Larry’s congruency, integrity that is rare.

Larry demonstrated generosity . He and Faye and their family allowed friends and colleagues to share their final journey through visits, email, phone calls. And they did it with grace. One such generous interview was filmed by the Canadian Partnership Against Cancer. Larry had recently become their scientific advisor. This is a significant learning piece for all of us as Larry shares about his own cancer journey. http://www.partnershipagainstcancer.ca/2013/08/16/larrylibrach/

I wrote a song for Larry in which I wanted to inspire courage, say thank you and provide a container for our collective grief and shared hope. The bridge of the song says it best: we teach by who we are, how we live, how we die. For me , this encapsulates Larry Librach, a mentor and friend for so many.

Teaching that is going to make a difference is about embodied action. That’s why Larry was an effective teacher. His knowledge wasn’t abstract, it was concrete, real, connected and lived out. I’m grateful for his influence in my life.

Campfire songs

Mon, 22 Jul 2013 14:51:00 GMT

It’s that time of year when we may find our evenings spent around the campfire. It’s a great Canadian summer-time tradition: campfires become the after-dinner entertainment at the cottage, lake, on a camping trip or at summer camps. And very often, singing songs become an integral part of the experience and the memories.

I still remember lots of campfire songs from growing up. Mostly I learned them at camp. Some were silly songs, crazy stories that made me laugh. The hilarity also came in trying to remember lyrics at a speed usually faster than lightening. My all-time favorite silly campfire songs are: The Other Day I Met a Bear , Old Hiram’s goat, Father Abraham, There’s a Hole in the Bucket and Allouette from my Quebec camping days.

And then there are the action songs. I was always fairly spastic at these and marvelled at friends who could sing and do the actions effortlessly. Funny, I don’t remember those tunes at all…

I loved the rounds and part songs like Fire’s Burning and Five Bottles of Pop . I loved them because they were formative impressions and experiences of harmony and the thrill of ensemble music-making for a young would-be musician.

The more contemplative songs like Kumbayah, Blowin’ in the Wind, and Pass It On helped me connect and have feelings with others, my counsellors and mentors. As one person said of Kumbayah : “someone’s singing, laughing, crying, praying……where else do we sing about our emotions and feel safe with it?”

Often when the sparks fly, so does romance…

There’s nothing like a campfire – simple tunes, burning embers, smoky-smelling clothes and marshmallows – no wonder these campfire songs are often ones that we remember longest. The songs were sung in a safe place with no evaluation. There was strength in numbers with that great feeling of group bonding and connectedness. Lots of laughs. Lots of endearing memories. Campfire songs.

Do you have a favorite campfire song?

Remembering Michele

Thu, 27 Jun 2013 15:47:00 GMT

Michele's Room 217 Story

My first recollection of Michele Jones was watching her play the part of Marilla in Anne of Green Gables; produced and performed by the Scugog Choral Society in Port Perry, the town where we live. I wasn’t sure whether Michele had been typecast - was she by nature an austere, cranky lady or, was she a terrific actor? Over the next 16 years, I learned about the real Michele - she was a deeply caring woman, highly skilled at vision casting and implementation, passionate about the arts, especially music, a woman with strong values and ideals and an amazing actor with an uncanny sense of timing.

It was with a tremendous degree of shock and sadness when our community learned that Michele had terminal cancer and was given twelve weeks to live. At first, like in any tragic loss, shock, denial and anger reared their visceral faces. But it was Michele’s own sense of acceptance that led the way for her family and community at large to accept what was going on. In fact, she wanted the Beatles’ song Let It Be to be sung at her memorial service. Amidst tears, laughter and genuine struggle to sing those words authentically, we did it, all 300 of us.

Michele asked me to come to her home on several occasions during those short months to play music. We had a good time sharing the songs she had grown up with, danced to, and sung in musical theatre. In our afternoons together I learned how Michele’s dad, Cedric, an avid music lover, made sure there was lots of music in her childhood home. She sang me one of his "silly songs" - all sixteen verses. Close to You was what she sang to her girls, Sharon and Liz, when they were little. Many of the 60’s songs had associations with Michele and Gord in their early years together—and I heard about them. The ukulele was Michele’s instrument of choice and she played me some of her favourites and Grandma’s special song for Charlotte, her granddaughter. Then there were musical theatre songs - she knew them all. Behind every song there was a vivid story from Michele.

In those sacred moments with Michele, there were several things that I will always remember. One day, Michele was lying under a blanket on the couch and I was playing gently and softly on her treasured heirloom piano. I played "Room 217 style". The slower pace helped her relax and it wasn’t long before she dozed off. Some forty minutes later I began to play My Funny Valentine . The tune enlivened her - she sat up straight, began to sing, and by the fourth phrase was standing and singing at the top of her lungs. All at once, I was filled with a horrid contradiction: I was sure singing couldn’t be good for her because her lungs were filled with fluid and she was expending a lot of energy. Yet I was equally sure that it was the best thing for her because she was wrapped deeply in an experience that transcended the disease and let her keep living in the music she loved.

Another day, I learned there were even more distinct ways that musical memories nourished Michele. Michele had been a dancer and taught ballet: whenever she listened to the Room 217 Classic Comfort album, an hour of classical piano music, it made her "dance". Of course this was now a dance performed in her memories and imagination, but she lit up when she spoke of it. I believe the music stirred in her a sense of dignity and optimism when some of the procedures and episodes of her illness mitigated against it.

Music chronicled Michele’s life. Michele invited me to do the music at her memorial service. She planned the songs with care. It’s true that I had never played Five Foot Two and There’s a Hole in the Bottom of the Sea at a celebration of life service before, but the opening twenty minutes of music were a snapshot of a woman who loved and lived a lifetime of music and this was not about to end.

Songs and dads

Wed, 12 Jun 2013 17:36:00 GMT

There are playlists for just about everything these days, including songs for dads. Top 30 Songs About Dads, Best Father’s Day Songs, 100 Greatest Father Songs, Songs by Dads, 10 Best songs About Dads are some of the lists I’ve seen. “Fathers” have been the topic of many songs. The lyrics become reflections of the emotional impact of a father’s relationship, or non-relationship to the writer/performer/listener. I find “dad” songs have high emotional content, like Harry Chapin’s Cat’s in the Cradle or Dan Hill’s I Am My Father’s Son . Eric Clapton’s song My Father’s Eyes expresses his grief as he reflects on both the tragic loss of his son and never knowing his own father. Will Smith’s rap tune Just the Two of Us is lighter and is a musing of what it’s like being a dad. “Dad” songs remind us of the relationship we have with our own dads. Great songs do that – the theme is universal yet the meaning become personal to the listener. My favorite “Dad” song of all times is “Papa Do You Hear Me” from Yentl. I relate to the close relationship Yentl has with her own father who has died. I also relate to her acknowledgement of her Father in heaven. For me, the expressive strength of Barbra Streisand’s performance moves me just as much as the song itself, maybe more.

http://www.youtube.com/watch?v=QwCPAo5e_F8

What is it about the performance expression of Streisand, Clapton and other great artists that make a great song have even greater impact on the listener? Researchers consider performance expression, in any style, a multi-dimensional phenomenon made up of five main sources, generally known as the GERMS model: [i]

When performers weave these components together seamlessly, whether it’s a song about Dad, dreams, or desperation, then there is the potential for a performance with optimal and far-reaching impact. And I would predict that when a song moves us that profoundly, it may become a part of our personal playlist.

Learning from the song of the warbler

Thu, 23 May 2013 16:28:00 GMT

One sure sign of spring is the sound of the birds. From early dawn, birdsongs fill the air. If I pause to mindfully listen, the distinct pitch, patterns and rhythms identify which birds are nearby. Birdjam helps me learn the songs of the birds and match the song with the bird.

Recently, a distinctive warbler’s song was sung in our trees and it made me think about birdsongs and songs in general and how they interface with life.

Birdsong has become an interest of neuroscientists because songbirds are a model organism to study the neural basis for things like speech development and learning, spatial memory, and social behaviours. For example, one study uses songbirds to look at the neural regulation of the motivation to communicate. Evidence suggests that in songbirds, neurochemicals like dopamine and opioid neuropeptides are found in brain regions implicated in motivation and reward and play a role in whether the song is sung to attract females (female-directed) or is not directed towards others (undirected) [i] .

Songs have an intrinsic connection with life: the sentiments we feel like love, thankfulness, sadness or the way we recollect culture and historical events. Songs helps us express our deepest feelings, thoughts and spiritual practices. Songs are used intentionally at special events like weddings, funerals, and parties.

I love how music therapist, Kenneth Bruscia, describes how song accompanies us on our journey and how they, in fact, become the diaries of our lives.

Songs are our connections to life. They connect us to our inner world; they bring us closer to others; they keep us company when we are alone. They articulate our beliefs and reaffirm our values. They arouse, they accompany and they release. And as the years pass, our songs bear witness to our lives and give voice to our experiences. They rekindle the past, reflect the present and project the future. Songs weave tales of our joys and sorrow; they express our dreams and disappointments, our fears and triumphs. They are our musical diaries, our life stories. They are the sounds of our development [ii] .

The song of the warbler has made me pay more attention to the songs I’m singing, writing, and listening to. What do they mean in the context of my journey? What do they reflect about what I believe, value, and what I’m trying to say? How has my song developed over the years?

For me, songs are important. They encapsulate my feelings, thoughts or beliefs and often motivate an inner response, i.e. I Will Remember You, Climb Every Mountain, Here I am to Worship.

When I write a song, it usually comes out of an experience – mine or somebody else’s. It may be observational, personal, motivational – but there’s something universal and human about the song that connects me and hopefully others to the textures of the experience.

I hope that I’ve become a better listener to other people’s songs. Less judgmental, and less musically critical (unfortunately, this seems to be a common practise among people with intense musical education). I hope that I am more understanding of people’s stories and of human experience – longings, disappointments, and celebrations.

Deep thoughts. Profound learning from the song of the warbler.

The Last Iris: A Mother's Day Tribute

Mon, 06 May 2013 21:26:00 GMT

The Last Iris: A Mother's Day Tribute

By Jane Twohey (of the Room 217 Foundation) with Rory Taillon

“I celebrate two moms on Mother’s Day,” says Rory Taillon, a young and talented musician from Oshawa, Ontario. “I always made two Mother’s Day cards when I was a kid; one for my mom and one for my Grandma who was like another mom.”

Soothing Relaxation Journeys

Wed, 24 Apr 2013 15:58:00 GMT

Soothing Relaxation Journeys is a specifically designed relaxation and imagery CD created to facilitate relaxation experiences, reduce anxiety and pain perception, improve mood and enhance comfort during treatments in oncology/cancer care and palliative care. It is also developed as a tool for those new to the GIM process and imaging to music. There is a substantial body of research in the areas of music and relaxation, and music and relaxation in medical settings, and that research has informed the development of the CD. There are numerous Relaxation and Imagery CDs on the market but few have been developed upon evidence-based principles.

Music and Relaxation

Studies that focused on music and relaxation highlight the biological and neurological effects that music has on the body and the brain. Fried (1990) discussed decreasing heart and respiratory rates initiated by changes in the autonomic nervous system activity when relaxing music is played, and changes that occurred in paradoxical arousal patterns that were contrary to those in cognitive function and anxiety, which is a positive result showing how music was used to create physical relaxation symptoms that are opposite of physical symptoms experiences during anxiety.

Significant decreases in state anxiety were found in college students when listening to preferred, relaxing music (Davis & Thaut, 1989). In a broader study Robb (2000) found music relaxation and progressive muscle relaxation were the most effective in eliciting changes in anxiety and perceived relaxation when listening to music and participating in various relaxation techniques, but that state and trait anxiety did not differ among treatments. A meta-analysis of 22 studies that focused on using music to decrease physiological arousal due to stress found that music and music-assisted relaxation significantly decreased arousal due to stress, and the amount of stress that was reduced was dependent on the client’s age, type of stress, musical preferences, and the type of music utilized (Pelletier 2004).

What is Guided Imagery and Music?

Guided Imagery and Music (GIM) is a technique used by specially trained therapists to help clients achieve a greater self-understanding and gain insight into their life problems. The Bonny Method of Guided Imagery and Music (BMGIM) was developed by Helen Bonny, who defines it as a “music centered exploration of consciousness which uses specifically sequenced music programs to stimulate and sustain a dynamic unfolding of inner experiences” (AMI, 2000). Music and imagery work together as therapeutic agents to expand a client’s awareness, resulting in major therapeutic benefits (Burns & Woolrich, 2004).

GIM is based on theories from two schools of psychology: humanistic and transpersonal. Humanistic psychology deals with a person’s growth as they move from fulfilling basic to complex human needs, and to ultimately achieve self-actualization (Maslow, 1968). Transpersonal psychology aims to expand awareness through imagery and dreams to in order to understand one’s greater connection to life (Vaughan, 1979). GIM aims for both self-improvement and self-transcendence.

The Music Programs

The music programs in the BMGIM provide structure and direction in the session. The therapist chooses a type of music that is most appropriate for the client’s situation. Specific programs have been developed for different purposes, including Caring, Peak Experiences, Imagery, Grieving, and Relationships. The programs are based on classical music and are mainly instrumental (Bonny, 1978). The music that tends to be the most effective for a particular client has enough structure and predictability to provide comfort, but also has enough variation and ambiguity to create interest and evoke reactions in the form of feelings and images (Summer, 1993).

So How Does It Work?

While the client is completely relaxed, the music helps to evoke different feelings, emotions, thoughts, memories and images (Bonny & Pahnke, 1972). These images can be dream-like, and may contain mythical and archetypal figures or symbols released from the unconscious (Vaughan, 1979). The therapist acts as a guide, heightening the client’s awareness and helping them navigate the experience.

How Does A Session Unfold?

A BMGIM session unfolds in four stages (Bonny, 1978). The first stage is an opening conversation between client and therapist to find a focus for the session. The second phase is a relaxation induction. The therapist guides the client through relaxation exercises to relax the body and move to a state of consciousness conducive to focused imagination. The therapist then describes a scene to open the client to the imaging process. The third phase is the music-imagery experience, which lasts about 30-40 minutes. The therapist plays a specifically designed program of classical music while the client describes images that come to mind. The therapist dialogues with the client, supporting and encouraging their spontaneous imaging and attempting to heighten awareness. The fourth stage is called the return and post-talk. The therapist helps the client return to an alert stage of consciousness and they discuss the experience, trying to make sense of the images and relate them to the client’s life. The therapist does not make interpretations for the client, but prompts them to come to their own realizations.

Who Benefits?

GIM has been used with a wide range of clients, although it is not recommended for people with serious mental disorders. It can be helpful for those seeking assistance with a variety of issues such as relationship problems, career changes, health issues, stress and anxiety, depression, grief and loss, addiction, different forms of abuse, clarity about life experiences, or spiritual and existential questions.

Final Thoughts

GIM is a unique therapeutic technique that uses the powers of music and imagery to gain deeper self-understanding. Music has the ability to bring about memories, feelings and images, which become even more vivid when the mind is completely relaxed and the imagination is focused. A client’s GIM experience is a personal journey through an exploration of their unconscious. With an expanded awareness, clients can discover inner issues, themes and feelings and work through life’s problems with a new level of insight.

References

Association for Music and Imagery [AMI]. (2000). Welcome . Retrieved from ami-bonnymethod.org/the-bonny-method-2

Bonny, H. (1978). Facilitating GIM sessions . Salina, KS: Bonny Foundation

Bonny, H., & Pahnke, W. (1972). The use of music in psychedelic (LSD) psychotherapy. Journal of Music Therapy, 9, 62-87.

Burns, D. & Woolrich, J.W. (2008). The Bonny method of guided imagery and music. In Darrow, (ed.) Introduction to approaches in music therapy . U.S.: American Music Therapy Association Inc.

Davis, W., & Thaut, M.H. (1989). The influence of preferred relaxing music on measures of state anxiety, relaxation, and physiological responses. Journal of Music Therapy , 26 (4), 168-187.

Fried, R. (1990). Integrating music in breathing training and relaxation: I. Background, rationale, and relevant elements. Applied Psychophysiology and Biofeedback, 1 5 (2), 161-169.

Maslow, A. H. (1968). Toward a psychology of being. New York: Van Nostrand Reinhold.

Pelletier, C.L. (2004). The Effect of Music on Decreasing Arousal Due to Stress: A Meta-Analysis. Journal of Music Therapy, 41 (3), 192-214.

Robb, S. (2000). Music assisted progressive muscle relaxation, progressive muscle relaxation, music listening, and silence: a comparison of relaxation techniques. Journal of Music Therapy, 37 (1), 2-21.

Summer, L. (1993). Melding musical and psychological process: The therapeutic musical space. Journal of the Association for Music and Imagery, 4, 37-48.

Vaughan, F. (1979). Awakening intuition. New York: Doubleday.

Hearing Loss and Aging - Part 2

Thu, 11 Apr 2013 14:13:00 GMT

Older persons often experience limitations to their hearing, which can frustrate and strain relationships with loved ones and caretakers, reduce the ability to interact socially, limit cognitive functioning and emotional wellbeing, and ultimately impact general quality of life.

For the elderly or ill patient, who may be confined to bed rest, there is a need to optimize communication opportunities with medical or support personnel, as well as family members. These moments of communication often are very important. Fortunately, most hearing losses can be treated with hearing aids. The goal of amplification in hearing aids is to boost all speech sounds so the hearing impaired person can hear clearly. While hearing losses vary from one person to the next, hearing aid technology allows for a very precise adjustment of the sound delivered to the listener’s ear, so that speech is easy to understand and also comfortable.

Tuning in to a radio, or listening to music can be stimulating, soothing, and can sometimes help with recovery and healing. Music can increase your overall sense of well-being, improve mood and focus and relieve stress. In recent years there have been a number of studies showing the benefits of listening to music, and also learning music (e.g., Nat Rev Neurosci 2010;11[8]:599).

For all of the reasons mentioned above, it seems a worthwhile goal to try to make music available to older patients. So, how can we optimize music listening for the client in a hospital room, or in a room shared with others?

The technology today allows us to deliver sound from a radio, personal music player, or even a television, directly to the patient’s ears through hearing aids or earphones. The volume of the signal can be adjusted using a small remote control. What this means is that the listener can enjoy an audio signal of choice wirelessly, and without interrupting others in the same room. Many of these systems are available as a package with the purchase of hearing aids from an Audiologist. Bluetooth or infrared headsets also are offered at stereo or electronic specialty shops.

SAVE THE DATE! MCC 2013 – Saturday November 9, 2013 – Toronto, ON

Wed, 03 Apr 2013 13:36:00 GMT

MCC 2013 – Saturday November 9, 2013 – Toronto, ON

The Room 217 Foundation’s Music Care Conference will be returning to the University of Toronto on Saturday November 9, 2013 in partnership with the Music and Health Research Collaboratory, Toronto Alzheimer’s Society, Baycrest Hospital and founding partner Laurier Centre for Music in the Community.

Speakers include:

NEW THIS YEAR!

Music Medicine Research Symposia presented by MaHRC:
3 Thematic Symposia on Implications of Research for Practice

Music Medicine and Neurodeficits – Friday November 8, 1:00-5:00
Music Medicine and Quality of Life – Sunday November 10, 9:00-12:00
Music Medicine and Pain – Sunday November 10, 1:00-5:00

For more information call 905.852.2499

EARLY BIRD REGISTRATION OPENS June 1, 2013

Hearing Loss and Aging – Part 1

Thu, 21 Mar 2013 14:33:00 GMT

Introducing Room 217 music care resources at end of life

Tue, 05 Mar 2013 16:37:00 GMT

The Room 217 Foundation, with the generous support of the GlaxoSmithKline Foundation, has recently implemented the R2R program in 42 Hospice and Palliative Care programs across Canada. Here are 10 ways R2R participants are introducing and integrating Room 217 music in end of life care. The comments have been reported by HPC facilities participating in the R2R program (as submitted by Debbie Devitt, R2R Program Facilitator).

1. For release, closure and comfort Spirit Wings was played while staff sat with a client overnight – she was soothed by the music and she died while Footprints was being recited. All of the staff members who experienced this individually spoke to me afterwards and explained how powerful this experience was. As the resident was dying they encouraged her to “let go” and they guided her to focus on the songs that were very meaningful to her. The music brought some ease and comfort to a very difficult night.

2. For reminiscence and enhancing communication Volunteers have found the Room 217 CDs very useful in communication with clients facilitating discussions around memories triggered as they listen to the music.

3. For soothing relaxation One elderly gentleman, who was at end of life, very much enjoyed the CDs. He and his wife said they helped to take the worries away. They were able to sit and hold hands and quietly let the music soothe them. Another bereavement client enjoyed several of the CDs as she sat quietly at home by herself. She said they brought her much comfort and relaxation.

4. For companionship on the journey L oneliness was eased by a dying patient who was semi-comatose and alone. The only physical response was noted on repositioning. We brought Room 217 CDs to her and noticed her toes tapping to Gentle Waters . We changed the CD over to Old Chestnuts and her hands kept time to the beat despite severe apnea. We asked if she liked the music and she nodded yes. She lived three more days with music as her companion.

5. For sleep promotion Hugs and Kisses was played in the evening for a pediatric client at bedtime to promote a calm relaxed environment for sleep – allowing him to be rested in the morning and an increase in energy throughout the day. Staff noticed an increase in his energy when he wakes in the morning after a long restful sleep.

6. For distraction O ne client became very obsessed related to his diagnosis with the shopping channel and was buying everything that was advertised so we were blocking that channel. Then he would become very agitated with commercials. We suggested to his family that we could put on the Recollections DVD which brought him much comfort and peace at the end of his life as he was very involved in his life in nature. His family was very grateful and he would often look at the DVD in the last week of his life. In another situation, one of the clients (pediatric) was going through a medical situation causing insomnia, pain and an increase in seizures. The music was put on for him which allowed him to rest (unfortunately unable to sleep) and redirect his attention to the music and off the pain and discomfort he was experiencing.

7. For program support i.e. bathing We have implemented the Room 217 music care resources in our bathing program for our day hospice clients and they really enjoy it. They state it helps relax them and get in to a peaceful space.

8. For de-stressing caregivers One Program Director plays the Room 217 music in her office while completing bereavement follow up calls. She finds it very calming and has noticed a difference in her experience when making the calls.

9. For regulated breathing The client was in advanced stage of palliative care. I played live music for him which helped regulate his breathing. I setup the client's son with a couple CDs from the Room 217 collection that would be comparable to the live music I played. The client’s son stated that he noticed a difference in his father’s breathing.

10. For reflection and meditation Spirit Wings supported meditation. The music is instrumental for deeper reflection.

Strengthening our capacity to care

Wed, 13 Feb 2013 16:02:00 GMT

Happy Valentine's Day from Room 217

On Valentine’s Day, we celebrate love for those we care about. Care well. Love deeply. As Casals said, that is where we will find the most profound meaning of life.

A Music Resource for Dementia Care

Thu, 31 Jan 2013 18:22:00 GMT

Faces of Music Care Part 8: Health Arts Societies – Concerts in Care

Wed, 16 Jan 2013 05:01:00 GMT

The Concerts in Care program builds on the work of hundreds of performing artists, and on a philosophical foundation that live, interactive music provides immediate and positive engagement for all residents in care who participate. The positive response of these seniors, many suffering in the midst of their journey with dementia, is interesting and exciting for everyone involved.

Room to Room (R2R) Program

Mon, 17 Dec 2012 20:54:00 GMT

Delivering Room 217 resources to Hospice Palliative Care in Canada The Room 217 Foundation has decided to take a proactive role in the delivery and use of its music care resources to Hospice Palliative Care (HPC) facilities and programs across the country. Based on Room 217’s mission to produce and deliver music care resources to those in complex care and life threatening situations and based on Room 217’s experience, it is patients and families in HPC that have the greatest need for resources and strategies to enhance their quality of life. Early in 2012, Room 217 designed the Room to Room (R2R) program for the controlled delivery and accessibility of its resources to HPC facilities and programs. With the generous financial support of the GlaxoSmithKline Foundation , Phase I of R2R was started in August of 2012 and is currently being introduced and monitored into more than 40 participating HPC facilities in towns and cities across Canada. Proposed outcomes of the R2R program include awareness of the importance of music in care in participating HPC programs and facilities, as well as improve quality of patient care for people who are dying in Canada by:

For more information on the R2R program, please contact Debbie Devitt, Program Facilitator at R2R@room217.ca The GlaxoSmithKline Foundation is dedicated to improving quality of life with a focus on health and wellness. The GSK Foundation remains committed to the continued evolution of GSK employees’ “cause of choice,” the hospice palliative care movement in Canada. They believe that all Canadians have the right to die with dignity, free of pain, surrounded by loved ones in the setting of their choice.

Faces of Music Care Part 7: Buddy’s Glee Club

Thu, 06 Dec 2012 15:00:00 GMT

This blog entry is submitted by Dr. Amy Clements-Cortes, PhD, MTA, MT-BC, FAMI, Senior Music Therapist, Baycrest Hospital. Buddy’s Glee Club is a study supported through a donation by a private donor in honour of her late husband “Buddy”, and a grant from the Association for Interdisciplinary Research in Singing (AIRS) of which Dr. Clements-Cortes is a co-investigator. Music and Singing Music and singing are meaningful and purposeful forms of activity that facilitate connection with others. Choral groups offer valuable experiences and are enjoyed across the lifespan. Once an adult is placed in long-term care, engaging in expressive therapeutic activity such as choral singing may be limited due to mobility, physical or cognitive issues that some may perceive as inhibiting a person’s potential participation. Such life changes are often distressing and may cause feelings of inadequacy or sadness. Buddy’s Glee Club at Baycrest was formed to provide opportunities for reminiscence and the social connection of belonging to a group to which participants contribute and play an active role. Being in a choir offers numerous benefits such as: improved breathing, increased attention and focus, and diversion from pain and anxiety; all while learning new or reactivating previously learned skills. Comments from Buddy’s Glee Club participants:

The Buddy’s Glee Club phase one study involved older adults who attended the Baycrest Community Day Centre program, and took part in a weekly one hour choral program for 16 weeks. Participants were assessed before and after the 16 week choir sessions for general health, self-esteem, anxiety, feelings/emotions and quality of life; and were interviewed at the completion of the study. Five large themes emerged from the data including: friendship and companionship; simplicity; happiness, uplifting and positive feelings; relaxing and reduced anxiety; and fun. Many participants had previous musical experiences, and participation in this choir helped them reminisce about past choir experiences, childhood choirs, memories associated with music, and raising their families. Participants indicated the choir was an overall positive and enjoyable experience which facilitated making friends, and singing familiar songs in a group with others. In the summer of 2012, phase two of the research project brought Buddy’s Glee Club to a new group of older adults in the Baycrest Apotex Centre. In this phase, the majority of the participants are diagnosed with cognitive impairment.There is little research or writing in the literature currently about the benefits of singing in a choir for cognitively impaired older adults, and so phase two is ground-breaking in the field of music therapy. The study has new measures and is designed to accommodate the inclusion of cognitively impaired adults and involves gathering pretest and post-test information from a questionnaire, with questions focusing on energy, happiness, mood, pain, and anxiety at each choral session. Several of the participants are able to answer the questions on their own, but for those who are cognitively unable to answer the questions, staff, private companions and the study’s research assistant subjectively determine the participant’s current state of being after being trained in such evaluation measures. The team for the phase two study includes two recreational therapists, three volunteers, one music therapy intern, choir facilitator, accompanist, and the research assistant. The choral facilitator and accompanist are both music therapists. Together this team creates a fun and engaging environment for all of the participants. Make sure you are singing for your health and wellness! Singing offers benefits across the lifespan.

MCC Toronto - a movement, not an event

Thu, 22 Nov 2012 15:03:00 GMT

On Saturday November 10, 2012 close to 300 people gathered at the University of Toronto Faculty of Music to learn more about issues and themes in Music and Care. Watch what happened here:

[IMAGE]

Here’s what participants are saying about the day: SOME HIGHLIGHTS

SOME KEY LEARNINGS

The Room 217 Foundation wishes to thank all participants for coming to MCC. A special thanks to host partner the University of Toronto Faculty of Music for their hospitality and collegiality. P.S. Stay tuned for news on more Music Care Conferences in the future. P.P.S MCC Toronto survey will open until Friday November 23. Thanks for the helpful feedback – we value it greatly!

Faces of Music Care Part 6: Jason Crigler and family

Wed, 31 Oct 2012 20:45:00 GMT

Faces of Music Care Part 5: Fit As a Fiddle Canada

Mon, 15 Oct 2012 20:17:00 GMT

This blog entry is submitted by Margot Glatt of Thornhill. Margot and Aidan Mason are part of a duo called Fit As A Fiddle Canada. For more information, visit www.fitasafiddlecanada.com

Faces of Music Care Part 4: Alive Inside, Henry and the iPod project

Fri, 05 Oct 2012 16:00:00 GMT

Room 217 Foundation is always pleased to share stories of Music Care. For more stories of care, check out our website at www.room217.ca

Faces of Music Care Part 3: Hospice Peterborough

Wed, 19 Sep 2012 17:28:00 GMT

Paula Greenwood

Why Attend Music Care Conference TORONTO?

Thu, 06 Sep 2012 17:44:00 GMT

10 Benefits for you, your family and organizationClick here to register for Room 217’s Music Care Conference TORONTO Saturday November 10, 2012 EARLY BIRD REGISTRATION DEADLINE – SEPTEMBER 15, 2012 To view Program-at-a-glance click here HEAR experts present on music and Dementia, music and Parkinson’s Disease, music at end of life LEARN more about how music impacts our health and well-being EXPERIENCE the therapeutic benefits of music while participating in hands-on workshops THANK a caregiver who has touched your life by sponsoring their registration (see Jane’s story below) ENCOUNTER technology as a means of supporting music care DISCOVER how music can be integrated into caring for our aging population BE INSPIRED by Amy Sky, Canadian singer/songwriter as she shares her story and music NETWORK with other music care stakeholders and exhibitors MAXIMIZE your dollar – Early Bird Registration Sept 15. Ask about student/senior/group pricing SOMETHING FOR EVERYONE – MCC participants include professional, volunteer, family caregivers, musicians, music lovers, studentsJanes’s story – Thanking a Caregiver with the gift of MCC At 82 years old, my mom never thought she would get her mobility back. After knee surgery and months of recovery, it was the dedicated support of Trish, the physiotherapist, who encouraged mom to walk again. As Mom recuperated, she listened to music on her ipad – it helped distract her from the pain and helped her rest. Trish blessed us as a family and offering to send her to the MCC is our way of saying thanks.

Faces of Music Care Part 2: Spruce Lodge Long Term Care Facility

Fri, 17 Aug 2012 20:21:00 GMT

Lynda Weston

It is hard to put into words my first experience of the Music Care Conference I attended at Wilfrid Laurier in October of 2010. It was partly a sense of ‘coming home’ and partly a great big ‘Yes!’ Finally I found folks who affirmed everything I had been seeing and experiencing as the spiritual care coordinator at Spruce Lodge Long Term Care Facility in Stratford. Somewhere along my journey I heard someone say that the word for ‘music’ and the word for ‘to dream’ had their origins in the same Celtic word. This always made perfect sense to me. I had watched music, live and recorded, weave a comforting web of dreamtime around family members sitting with their dying relative. I had been present, dancing someone around in a wheelchair to the music of their youth, when we slipped into magical dreaming time and they turned to me and said, “This is just like flying.” Music has the power to enfold, unfurl, lift and transport bodies - sick, old, crippled, dying - out of the ‘reality’ of a mundane, overly-medicalized existence and into the dream world of freedom, emotion and joy. Following the Music Care Conference, I began to look with new eyes on what we might do to support the use of music beyond the boundaries of traditional use with more confidence. Here are three music care projects I would like to share. I was approached by a storyteller, who offered to come in and share her stories about the pioneer days in Huron and Perth counties with our residents, many of whom were the same age or older than this lively woman. I paired her with another volunteer who played piano and organ for our chapel services. Dorothy Leitch’s wonderful stories, and storytelling, were punctuated by Marion MacDougald’s accompaniment of songs of the period. The nostalgic and rollicking time ended with everybody singing along.

Although all the services and funding which might be available in some of the larger centres are simply not available to us, we have found a way to start blooming where we are planted. And what beautiful flowers have been produced so far.

Faces of Music Care: The Java Music Club

Wed, 25 Jul 2012 11:00:00 GMT

The Java Music Club

Building a culture of positive mutual support and a foundation for an effective and representative Residents' Council in long term care

The Java Music Club is an applied research, mutual support program, designed to tackle critical levels of loneliness and depression in long term care as well as assisted living, retirement, adult day-care and other supported living settings. It incorporates music, discussion topics, quotations, and photographs to create an engaging and stimulating atmosphere for participants to share about ongoing challenges and successes, to make new friends, and to learn more about each other.

The underlying theme of the group is positive mutual support and guidelines encourage the more able members to reach out to and support each other as well as more isolated or withdrawn residents. An Aboriginal traditional "talking stick" is used to ensure each participant gets a chance to speak - and a chance to listen.

Easy to follow guidelines and an implementation training DVD are included so that recreation staff, and other interested staff or volunteers, can learn how to lead a successful Java Music Club group - no musical skills are required! The high-quality standardized format can easily be replicated in multiple settings.

The Java Music Club was the subject of a pilot research study that examined six resident groups in three care homes in British Columbia. The study was completed through the Gerontology Department of Simon Fraser University and funded in part by the Michael Smith Foundation for Health Research and the Social Sciences and Humanities Research Council of Canada. Study group participant reports indicate a decrease in loneliness and an increased sense of belonging and empowerment. Staff also reported positive outcomes and personal benefits from facilitating the program. The research has recently been published in the Journal of Applied Gerontology. (http://jag.sagepub.com/content/early/2012/06/06/0733464812446866.abstract)

The Java Music Club program is designed so that those with cognitive impairment can actively participate. Almost all the participants in the research study had some form of cognitive impairment and close to half had moderate to severe cognitive impairment. Although it would seem that a verbal discussion program such as a mutual support group would not work well with this population, observations of and interviews with participants reveal that not only did those with mild-moderate cognitive impairment actively participate and appear to benefit, but those with severe cognitive impairment did as well. Mutual support groups represent tremendous therapeutic potential for decreasing the loneliness, helplessness and depression.

Once implemented the Java Music Club format can be utilized to help ensure a representative and effective residents' council. Periodically the meeting may open up to discuss issues that can be brought forward to the residents’ council. The Java Music Club manual has a suggested format and guidelines for these types of meetings. Once a level of trust is built, and participants become accustomed to sharing, in depth discussions can help reveal important issues affecting residents. The Ontario Association of Residents' Councils has given the Java Music Club a letter of support for the creative work done in this area.

For more information please visit our website: www.javamusicclub.com or contact Kristine Theurer, Kristine@javamusicclub.com , Tel (604) 531 9875

SAVE THE DATE! MCC Toronto - November 10, 2012

Tue, 10 Jul 2012 16:16:00 GMT

The next Music Care Conference will be held on Saturday November 10 in Toronto ON at the University of Toronto, Faculty of Music. In partnership with U of T’s new Music and Health Research Collaboratory, Royal Conservatory of Music , Baycrest Hospital and Laurier Centre for Music and the Community , Room 217 will present the fourth Music Care Conference. Early bird registration is available until September 15 at $140 + HST. Register here . For special group rates, call Carolyn Simpson, registrar, at 905.852.2499.

MCC Toronto Keynote Performers and Speakers: Adrian Anantawan, Dr. Connie Tomaino, Deborah Salmon, Amy Sky

Music Care Conferences 2012

Mon, 18 Jun 2012 17:37:00 GMT

FREDERICTON, New Brunswick – June 4, 2012 TORONTO, Ontario – November 10, 2012 Room 217’s Music Care Conferences are held regionally and gather local community stakeholders together around the issues and themes of Music Care. More than 200 gathered from across Atlantic Canada in Fredericton, New Brunswick earlier this month. Joined by many presenters, including Cleveland music therapist Dr. Deforia Lane, Dr. Lee Willingham from Laurier Center for Music in the Community, Dr. Amy Clements-Cortes, President of the Canadian Music Therapy Association and Raylene Rankin from the Canada’s music family, The Rankins, participants were both inspired, informed and encouraged to take next steps in integrating music into their care practice whether that is in a hospital, nursing home, faith community, family home, classroom or elsewhere. Here's how the day went:

COMING IN NOVEMBER TO TORONTO , join Dr. Connie Tomaino, Executive Director from the Institute for Music and Neurological Function in New York City, Dr. Lee Bartel, Acting Director of Music and Health Research Collaboratory at the University of Toronto, Deborah Salmon, Palliative Music Therapist at McGill University Health Centre in Montreal and Amy Sky, singer songwriter, and others for this one-day event at the Faculty of Music, University of Toronto. Check here for more information or for early bird registration.

Music Care in the NICU – Pacifier Activated Lullaby Device

Wed, 23 May 2012 13:00:00 GMT

Vocal Dystonia – Meet Thomas Wade

Mon, 23 Apr 2012 17:58:00 GMT

Neuroscience and Music: A likely relationship

Wed, 28 Mar 2012 15:59:00 GMT

If you want to dig a little deeper, the American Library of Congress offers a Music and the Brain series, comprised of lectures, conversations and symposia about the explosion of new research at the intersection of cognitive neuroscience and music. Each podcast runs for 17-25 minutes. Click here for a list of podcasts. http://www.loc.gov/podcasts/musicandthebrain/index.html Here are some blogs devoted to music and the brain: http://musicbrainerblogger.blogspot.com http://musiccognition.blogspot.ca http://healingmusicenterprises.com/brain_blog/ Finally, while there is a growing body of literature regarding the relationship between neuroscience and music, here are my current top 5 picks:

10 great reasons to come to Music Care Fredericton - June 3 & 4, 2012

Mon, 05 Mar 2012 17:07:00 GMT

REGISTER HERETen Reasons...learn and experience how music is connected to our well-being throughout our lifespanlisten to how people in Atlantic Canada are using music in careImelda Perley and the grandma’s healing drums from Maliseet First NationsSistema NB, an orchestral music program for at-risk kids from MonctonLaurence Marie a vibroacoustic harp therapist from Monctonipod project – a music program for people living with dementiaGlee@Heart – an intergenerational Glee Club with a twistGuylaine Vaillancourt, a music therapist from Montreal who uses music in end of life careDwight Ough, an audiologist from St. Stephen speaking on Hearing and Aginghear Raylene Rankin live in concert Sunday June 3 at 7 p.m. click here for tickets and then again at the conference on Monday June 4it’s a great price! $90 earlybird, $110 after April 15, seniors and students $75 including refreshments and lunchit’s a great location! – at The Playhouse Theatre and lunch at the Crowne Plaza Hoteldiscover how you can use music more effectively in caring for your loved ones and clientsbe inspired by keynotes Dr. Deforia Lane, Dr. Lee Willingham, Bev Fosterlearn more about how music is connected to our memories and why that is important in the aging population with Dr. Amy Clements-Cortes, President of the Music Therapy Association of Canadathe conference is bilingual – English and French simultaneous translationNETWORK – make some new friends who share your music care passionclick here for program-at-a-glance click here for speaker information

EARWORMS – When songs get stuck

Wed, 22 Feb 2012 20:34:00 GMT

Marketers and jingle writers exploit and count on the effects of musical stickiness. 967-11-11 call Pizza Pizza, Sleep County Canada, why buy a mattress anywhere else? are a couple of jingles that have become stuck in my mind. And then there are certain populations with neurological conditions where earworms may have additional impact. For example, people with autism or Tourette’s syndrome or obsessive-compulsive disorder may become hooked by a sound or a word or a noise and repeat it or echo it aloud or to themselves for days, sometimes weeks at a time. Apparently, earworms are common. Kellaris claims that 98% of people will experience an earworm and musicians, those prone to worry and women are more susceptible than others. How does one become unstuck? Common techniques include:

Musical Savants

Tue, 31 Jan 2012 18:46:00 GMT

The Science of Sad Sounds

Wed, 11 Jan 2012 21:12:00 GMT

Part 3 - Special Series on Music and the Brain Do you ever wonder why we may like to listen to sad music? Why do people create sad song playlists on their ipods? We often listen to music that either matches our mood or that will help change our mood. But sadness is normally an emotion we don’t want to feel and we try to avoid. So why would anyone want to listen to sad music? Dr. David Huron , Distinguished Professor of Arts and Humanities at the Centre for Cognitive Science at Ohio State University is a leading expert on music and emotions. In his Cognitive and Systematic Musicology Lab , he and his colleagues take a scientific approach in studying music and have taken on trying to answer this question. You can view Dr. Huron and his full explanation on this YouTube .

In sum, here are Dr. Huron’s findings.

Whether it is because I am open to new experiences or score high on the neurotic scale, I enjoy listening to and playing sad music, not all the time, but often enough. One of my favourites is the Air from Grieg’s Holberg Suite . It can bring me to tears. I also love sad movie theme songs like Schindler’s List or The Thornbirds. And after difficult experiences, I will often express my grief by writing a song, either instrumental or with lyrics. Music is a way to release emotions that may or may not be attached to real loss. No question sad music helps me have a pretty safe cry.

Music and Synesthesia

Mon, 12 Dec 2011 15:05:00 GMT

Part 2 - Special Series on Music and the Brain For twenty years, one of my sons has played or sung notes he sees in color. On road trips, he sees highway signs like rainbows. Last year, he felt some relief as he learned in a psychology course about synesthesia and that he wasn’t weird after all. Other people saw the world this way too. Synesthesia is an involuntary joined sensation that some people are born with. Two or more of their senses are coupled i.e. a voice is heard but is also seen, felt or tasted. One in twenty-three people have some kind of synesthesia, the most common being that days of the week and months of the year are coloured. One in ninety people perceive letters, numbers or written symbols as coloured. Dr. Richard E. Cytowic, Professor of Neurology at George Washington University has studied synesthesia for more than thirty years. He has witnessed a paradigm shift in neuroscience during that time that has made his work in synesthesia more widely accepted. Thirty years ago, brain theory said that the brain was organized into modules that didn’t work together i.e. visual module, language module, hearing module. This theory made synesthesia impossible, even denied. Now neuroscientists know that the brain is massively cross connected and in a synesthete’s brain, there is an increased activity in the wiring. Cytowic is convinced that by understanding the perceptual condition of synesthesia, we’ll find the neurological basis for how the brain represents metaphor. He and other researchers are searching for the synesthesia gene, a gene they believe is for metaphor and creativity, a gene that hyper-connects disparate things. (For more on the podcast with Dr. Cytowic, go to http://www.loc.gov/podcasts/musicandthebrain/index.html One of the first things JR did last year was to type out the alphabet the way he saw it (see above). This was not without frustration, as he sees precise colors, hues of yellow or orange and the color palette he used wasn’t absolutely precise. But it was close enough to help me understand what goes on in his brain perceptually with letters and words. What has stood out to me over the years is his consistency in the patterns. He has always seen A as red whether he reads it on a treble clef staff or sees it on a road sign or book. I’ve never seen JR as weird, only fortunate – to be able to see the world in a unique way, open to creative possibilities that will enrich us all. Are there any other synesthetes out there?

GABBY – Finding her voice again

Wed, 16 Nov 2011 15:58:00 GMT

Music Care Conference 2011 – Waterloo

Tue, 01 Nov 2011 19:22:00 GMT

Steven Page

Thank you to MCC Presenters for the exceptional opportunity to learn, share and be renewed in Waterloo on October 22. Thank you, too, to MCC participants for coming and for taking the time to give us feedback. For a brief look at how the day went, click here. Here are just a few of the participant highlights for 2011 as relayed to us via online survey.

Therese Schroeder-Sheker

2 MUSIC CARE CONFERENCES COMING IN 2012: June 3,4 2012 – Fredericton, NB – with Raylene Rankin, Dr. Deforia Lane, Dr. Amy Clements-Cortes Nov. 10 2012 (TBC) – Toronto, ON – watch for more information to come in the coming months

FROM GLEE @ HEART

Karen Snider is the gr. 6 classroom teacher and co-director of Glee @ Heart. She has blogged herself about the MCC experience. http://yours-in-kindness.blogspot.com/ see Oct. 22 Brian McBay is the music therapist and co-director of Glee @ Heart. At the long-term care home where he works in Kitchener, they recently filmed a flash mob. The video briefly features Music Therapy, as well as Recreation and Restorative therapies. The purpose of the video was to image long term care as a place where dreams are still fulfilled and lives still lived to their fullest potential. The "helping" therapies are shown to be assistive in facilitating this. http://www.youtube.com/watch?v=lQbQ3niMZbc&feature=feedlik

Meet Joanne Does, Certified Music Practitioner

Fri, 14 Oct 2011 11:52:00 GMT

When words leave off, music begins. ~ Heinrich Heine

Mon, 19 Sep 2011 20:26:00 GMT

I would like to take this opportunity to introduce our guest blogger Val Maloney. Val has been touched by the mission and purpose of Room 217 and when asked to share how music has affected her life, was quite willing to let us in on her private childhood memories of music and her Grandmother. Thanks Val, for taking the time to share with us. When words leave off, music begins. ~ Heinrich HeineAs far back as I can remember, I have always associated music with my Grandma. From singing nursery rhymes and old show tunes as a toddler, to Christmas songs during the holidays, there were always tunes in the air. But my Grandma’s favourite singer was always Anne Murray. She would sing her songs at family parties, while making dinner and cleaning. We would hear about her concerts, when she was on TV and when she was on the radio. So when my Grandma had a stroke which put her in the hospital it seemed as though the music had stopped. And for awhile it did. But eventually, while she remained in the hospital she began humming those old familiar tunes, like ‘Snow Birds’ while we visited her. It might have been sad at first, to remember a time when she was healthy, but it also brought everyone a bit closer together. Bringing a bit of levity to a moment of worry and sadness. When my Grandma died years after the stroke it was only fitting that we play Anne Murray at her funeral. A fitting completion to the memory linking music to her. Music might not have healed my Grandma, but it did bring us closer together. Is there a song, or singer that you associate with your childhood and family? You can hear more familiar music produced by Room 217. Check out our catalogue!

Session in St. John's

Tue, 13 Sep 2011 02:13:00 GMT

This is what I’d been looking for. Thanks guys. And thanks to O’Brien’s music store for recommending it.

You can check out Graham’s music at grahamwellsmyspace You can hear Tommy Saturday and Sunday nights on Deep Roots, CBC Radio 2 at 5 p.m. EST or check out his band at www.thedardanells.com

Country music, clichés, and care

Tue, 16 Aug 2011 03:56:00 GMT

Born this way: Entrainment & Music Care

Mon, 18 Jul 2011 02:28:00 GMT

We use entrainment as one of the therapeutic principles for music production at Room 217. The Room 217 music library targets Alpha brain wave activity, the state of calm and relaxation. The tempo of songs is at 60 beats per minute. Typically this slows down the familiar speed of the song. We aim to provide a gentle, soothing and calming resource for people in the midst of life’s complexities. So what does this mean for Music Care? At the very least, neural entrainment brings awareness about the tempo of ambient sounds/music and that it will have an impact on people who can hear it. In the best case scenario, realizing that we are born this way will make us all a little more sensitive to the impact of our musical choices on others.

Beluga kids & 6 song ideas for children

Mon, 20 Jun 2011 11:00:00 GMT

No wonder Dr. Raffi Cavoukian was recognized for his commitment to music care and child honouring. His work has deep impact and global reach. For more info on Raffi’s latest project, The Centre for Child Honouring, visit www.childhonouring.org .

Meet Rachael Finnerty, Music Therapist

Tue, 17 May 2011 06:11:00 GMT

Music Care Conference 2011

Registration now open

Please note Dr. Petra Kern, formally announced keynote speaker is not able to be with us due to unforeseen circumstances.

I have come to appreciate that there are a number of therapeutic practices that use music intrinsically in the work. Music therapy is one such scope of practice. Music therapists are trained in the skilful use of music within a therapeutic relationship. Music may be used as both a means and an end in this practice and there is vigorous academic training as well as supervised internships before practicing as a music therapist. Today, I interview Rachael Finnerty, current president of the Music Therapy Association of Ontario. To find a music therapist in your area and to learn more about MTAO, visit www.mtao.org . To learn more about Rachael and her work, visit http://www.fermatamusictherapy.com . BF: What motivated you to become a music therapist? RF: I entered the field of psychology with a passion for people - and a desire to help others within health care. Music had always been something I pursued and studied but did not realize its impact upon health and well being until learning about music therapy. Upon researching music therapy, it became evident that this field combines my 2 biggest interests; people (of all ages and abilities/psychology) and music. BF: In what areas do you practice? RF : I currently oversee music therapy work in long term care facilities and within my private practice, Fermata Music Therapy . Clients within my private practice are all ages, but predominantly children and young adults, with diagnosis such as Austism , Down's syndrome , Acquired Brain Injury (ABI) and Attention Deficit Disorder (ADD). I also use my skills as a therapist within a Skills Link program that supports young adults with boundaries to employment in gaining the skills and experience needed to gain employment in health care. I practice as an educator, providing two courses about music therapy at McMaster University , and supervise music therapy interns for both Wilfrid Laurier and Windsor University . I love the diversity of working this way as a music therapist, and I find that each part of my works informs the other. [[{"type":"media","view_mode":"media_large","fid":"53","attributes":{"class":"media-image","typeof":"foaf:Image","height":"260","width":"316","style":""}}]] BF: What is the Ontario Music Therapy Association (MTAO)? RF : Music Therapy in Canada is self regulated and governed by the CAMT (Canadian Association for Music Therapy) . The MTAO is a provincial chapter of the CAMT providing support to music therapists within Ontario and providing education to both the public and music therapists. The MTAO is an excellent resource for both music therapists and the public. BF: You have recently begun your term as President of the OMTA at a time when there are some significant changes ahead. What are your hopes and dreams for the organization? RF : I have become president of the MTAO at a particularly exciting time. Music therapy in Ontario is currently undergoing the process of becoming government regulated. The MTAO has played a significant role in representing the music therapy profession in this process. For more information visit www.collegeofpsychotherapists.on.ca/pages/home Although the CAMT was established in 1974, many music therapists find themselves explaining on a regular basis what music therapy is and how it works. It is my hope that through government regulation more awareness will be brought to music therapy and to the benefits of engaging in music therapy. The MTAO will need to continue to play a large role in the transfer of information during this process. As president of the MTAO, it is my hope to collaborate with fellow music therapists as well as like minded individuals in bringing greater awareness to the use of music in health care. . Thought you might be interested in these recent links: Meet Derek Paravincini – musical savant – this is incredible! http://www.youtube.com/watch?v=Ak2jxmhCH1M&feature=player_embedded I’ve heard of mob choirs before, but a virtual choir of 2,000? Check it out with composer Eric Whitacre’s Sleep. http://www.youtube.com/user/EricWhitacresVrtlChr A new study conducted by University of Kansas researchers has discovered that older adults who took music lessons during their youth may actually have forged new kinds of brain connections that help them stay sharp during the golden years. Read more: http://www.retirementhomes.com/library/health-and-wellness/healthy-living/childhood-music-lessons-can-keep-a-mind-sharp-201104211750.html#ixzz1LPPAr5Lj

Bev’s Musical Bucket List

Tue, 19 Apr 2011 12:13:00 GMT

Last week I heard the Faust Symphony by Liszt , one I’d never heard live before. An epic story and even more epic sound, this stellar performance by Montreal’s McGill Symphony orchestra was breathtaking. It was a cast of close to 80 players, my son Jeremy being amongst the violinists, plus a hefty mens’ chorus of more than 60 singers. They had my riveted attention for a full 90 minutes. I was inspired and breathtaken! Check out the ending…. On the trek back home along the 401, I stopped at a gift shop and there was a 3 ½ inch paperback that was calling my name: 1,000 recordings to hear before you die . I was intrigued by author Tom Moon’s choices, an eclectic mix of operas, rock, blues, world, classical, indie, from Lambert Hendricks and Ross to Smetana to Sufjan Stevens to compilations of urban greek folk songs. I realized how much music I either don’t know, hadn’t heard or experienced live. Like Faust. And it dawned on me that I needed to start a musical bucket list. So…I have begun to log a list…here goes.

How about you, have you begun your list? What would you fill your musical bucket list with?

SAVE THE DATE! October 22, 2011

Mon, 28 Mar 2011 20:38:00 GMT

Songs, Connections & Nanny Gross

Mon, 07 Mar 2011 18:00:00 GMT

Music played an enormous role in my connection with Nanny Gross, my grandma. As a child, she would come and straighten my shoulders as I practiced the piano. When I was a music student, she would come to my recitals – she was interested in what I was studying and learning. Music was a natural part of our relationship, something that joined us together. In later years when I went to see her at the nursing home, I’d often wheel her to the piano and play some tunes. During the last five years of her life, Nanny suffered from dementia and music was the means by which we connected. I expressed how I felt about our relationship in a song written about 5 years ago before she died. The song is Pictures in my Heart .

A song has the capacity to connect people, whether it’s two people or two thousand and two. It may be a shared event where a connection is made, like a wedding or concert or dance. It may be a shared feeling where we resonate around an emotion like joy or grief or love. It may be a shared idea where the music becomes symbolic like the hook of an advertising jingle or a protest. I remember how one song made me feel connected to millions of other people around the world. As Sir Elton John sang Candle in the Wind, his words encapsulated a world mourning the life of Diana Princess of Wales. Perhaps it was the connection to human suffering and tragedy, but that song brought us together in our common journey and expressed our common grief. One of my favorite quotes is by music therapist Dr. Kenneth Bruscia . He writes: Songs are our connections to life. They connect us to our inner world; they bring us closer to others; they keep us company when we are alone. They articulate our beliefs and reaffirm our values. They arouse, they accompany and they release. And as the years pass, our songs bear witness to our lives and give voice to our experiences. They rekindle the past, reflect the present, and project the future. Songs weave tales of our joys and sorrows; they express our dreams and disappointments, our fears and triumphs. They are our musical diaries, our life stories. They are the sounds of our development. I wonder, what connections have you made with songs? Bev

Defining the DNA of the Music Care Community

Tue, 15 Feb 2011 05:06:00 GMT

Welcome back as we continue exploring what a Music Care Community will look like. The Room 217 Foundation team was thrilled to see how well the Music Care Blog was received and we are encouraged by your comments both on the blog site and via email. Allow me to share my thoughts on key elements of the Music Care Community. The Music Care Community has three essential components:

Building a Music Care Community

Sun, 30 Jan 2011 12:00:00 GMT

So here we go! What will a music care community look like? I’d love to hear your thoughts on this. Bev Foster Executive Director Room 217 Foundation P.S. Check out the wonderful article and tribute to one of our MCC speakers, Ruth Roberts, music therapist at Sick Kids in Toronto! The Toronto Star - Music Helps Kids Heal Faster

Music Helps Kids Heal Faster