Reparative musicing: thinking on the usefulness of social capital theory within music therapy

Individual Music Therapy for Mental Health Care Clients with Low Therapy Motivation: Multicentre Randomised Controlled Trial

“…Music is a social art [39]. The social aspects of creating music together in a therapeutic setting are emphasised by many MT approaches, but especially so in resource-oriented MT [18].…”

“…For the present study, it was important to note that people with negative symptoms often have little ability to lead a creative, active, self-determined and social life, and that MT has previously been found to improve these aspects of mental health [12,14]. Music therapists do not merely attempt to remove symptoms, but try to help clients to get in touch with abilities that may be lost, inaccessible or not yet fully developed [39]. The concept of negative symptoms actually describes abilities, even though it is their absence that is assessed [40].…”

Music practice and participation for psychological well-being: A review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment

“…Finally, in another study investigating the perceptions of the psychological and social benefits associated with the attendance of participants (n = 441) at a music festival in Australia, Ballantyne, Ballantyne, and Packer (2014) reported finding that "the music experience provides the common ground on which both the social experience and the festival experience are built, and facilitates a sense of connection among participants" which has "the potential to influence psychological, social and subjective well-being" (p. 67). Resultantly, since positive relationships can contribute to psychological well-being (see also Aristotle, 2011;Baumeister & Leary, 1995;Berridge & Kringelbach, 2011;Bornstein et al, 2003;Cooper, 1977aCooper, , 1977bCove et al, 2005;Hicks & King, 2007National Crime Prevention, 1999;Noble & McGrath, 2012;Prilleltensky & Prilleltensky, 2006;Roffey, 2012;Seligman, 2010Seligman, , 2011Zins et al, 2004), and since several studies have indeed suggested that music practice and participation can contribute to positive relationships (see also Ballantyne et al, 2014;Boer & Abubakar, 2014;Csikszentmihalyi, 1975;Hays & Minichiello, 2005;Koelsch, 2013;Packer & Ballantyne, 2011;Procter, 2011;Rabinowitch et al, 2013;Schäfer, Sedlmeier et al, 2013;Schiepe-Tiska & Engeser, 2012) there is a firm basis for maintaining that music practice and participation can positively contribute to psychological well-being.…”

“…In another study investigating the function and significance of music for participants (n = 52) in Australia, Hays and Minichiello (2005) found that music "contributes to positive ageing by providing ways for people to maintain positive self-esteem, feel competent, independent, and avoid feelings of isolation or loneliness" (p. 437). In other recent research, Procter (2011) investigated the specific contribution of music therapy to the generation of social capital and proposed that "making music with others offers experience of loose social networks within which people have the opportunity to experience trust and reciprocity" (p. 246). SchiepeTiska and Engeser (2012) reviewed the literature on flow experience in groups and pointed out that "the main reasons for enjoying rock dancing, besides body movement and involvement with the music, were involvement with the partner and a feeling of togetherness" (p. 97; see also Csikszentmihalyi, 1975) and Schäfer, Sedlmeier, Stadtler, and Huron (2013) reviewed the literature on the functions of music and pointed out that "people listen to music to regulate arousal and mood, to achieve self-awareness, and as an expression of social relatedness" (p. 1).…”

Music in action: tinkering, testing and tracing over time

“…These events help us to see specifically how music can be said to have helped underwrite or support change. That change includes Eloise's expanded social capital (by generating what music therapist Procter [2011] has termed 'protosocial capital'). That proto-social capital in turn includes Eloise's altered embodied habitus (Delamont and Stephens 2008), from the tentative, somewhat inhibited tapping of the cymbal, to the thrashing almost ecstatically of autumn 2009.…”