Table 2 Intervention content table
Study | Intervention Theory | Intervention Content | Intervention Delivery Schedule | Interventionist | Treatment Fidelity | Setting | Unit of delivery |
|---|---|---|---|---|---|---|---|
Baker et al. (2012) [64], Australia | Not reported | Delivered at pre-bereavement, directed primarily to patient Home-based Active Music Intervention Background information collected Carer instructed to use music strategically to facilitate interaction with spouse (flexibly to status on that day, e.g. activity order). Carers then engaged spouse in music-sharing Music selected by couple. Live singing familiar songs (unaccompanied or with audio player), gentle movement to music, listening to relaxing music. After each activity, carer asked spouse to recall memories (with prompts), and kept diary after each session | Initial instruction session x 1 Music-sharing, 3 x 20–30-minute sessions per week for 6 weeks | Music therapist provided initial instruction session for carer to use music strategically with spouse Spousal carers then delivered intervention | Not reported | Instruction and all other sessions provided at home | Initial session delivered to patient-carer dyad, later sessions delivered by individual carer to patient |
Baker & Yeates (2018) [69], Australia | Not reported | Delivered to carers who were pre-bereaved or post-bereaved, directed only to carers Therapeutic songwriting group programme Group discussion, and collaborative composition (musical accompaniment and lyrics) of song with three verses, a chorus, and a bridge Participants rehearsed the material Whiteboard, keyboard | 4 x 60-minute sessions over unspecified period of time | 2 music therapists | Not reported | Dementia day centre | Group (n=4 members) |
Baker et al. (2018) [71], Australia | Insight-orientated, strengths-orientated, narrative, and cognitive reframing therapeutic songwriting frameworks | Delivered at pre-bereavement, directed only to carers Group Therapeutic Songwriting Intervention Participants shared stories and brainstormed to create lyrics and music for one song, then refined, rehearsed, and recorded Music therapist predominantly responsible for music creation, but participants encouraged to be involved at numerous stages of the process. (musical preferences/style, and musical choices) Live song writing, co-created with therapist | 6 x 60-minute sessions, weekly | One trained music therapist | Implied manualised protocol based off previous pilot study of 3-week intervention No further information reported | Private rooms at 2 not for profit dementia day care centres | Group (n=3-5 members) |
Black et al. (2020) [67], Canada | Not reported | Delivered at pre-bereavement, primarily to patient but carer present Music Therapy Receptive (inter-active) listening, song writing, psychotherapeutic processing through lyric analysis and active playing/singing Tailored to patient goals, reached through discussion with music therapist Goals included reminiscence, comfort (familiarity, and ease and calm while listening to live music), symptom management, and song writing/legacy (patient-created/therapist-supported songs as therapeutic outlet for self-expression and narrative creation, often gifted to family member after death) | 1-5 music therapy sessions (session length not specified), provided from 2 months prior to death to day of death | 1 music therapist/ researcher | Music therapist/ researcher delivered No further information reported | Multi-site between several hospitals and a residential hospice | Individual patients, sometimes with carer |
Brotons & Marti (2003) [72], Spain | Not reported | Delivered at pre-bereavement, with patient only group sessions, patient-carer dyad group sessions and carer only group sessions Group Music Therapy Therapists administered music experiences/preferences questionnaire with patients and carers and conducted music therapy session to observe. Participants divided in 2 groups with equal numbers of carers and patients in each Patient-carer dyad sessions (instrumental ensembles, and sing-alongs); carer only sessions (singing, music listening, music relaxation exercises, musical games, and song-writing) | Participants stayed on location for 12 days Patient and carer dyads = 7 morning sessions; carer only = 4 afternoon sessions (session length not specified) | 2 music therapists | Not reported | Participants stayed at rural house, equipped to meet their physical needs | Group (patient-carer dyad sessions n=28 members; carer only sessions n=14 members) |
Choi et al. (2009) [57], South Korea | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Active group music intervention (n=10) Singing songs, analysis of libretto, making musical instruments, playing instruments, e.g. pianos and hand bells, song drawing, song writing, listening to various kinds of songs as concentration processes | 15 x 50-minute sessions, 3 times a week for 5 weeks | 3 certified professional music therapists | Certified music therapists delivered No further information reported | Special dementia-care unit | Group (n=10 members), with patient-carer dyads |
Clark et al. (2018) [73], Australia | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Group Therapeutic singing Vocal warmups and exercises, singing familiar participant-requested songs (selected by therapist), learning new songs and singing skills introduced by the researchers, and socialisation over afternoon tea Participants encouraged to contribute to running of group Power-point presentation with ∼75 participant nominated songs and accompanying lyrics supported singing Live music provided by therapists (guitars, keyboard, and banjo) with support for carers to sing and, occasionally, percussion instruments | 20 x ~120 minute sessions on differing dates over 12-month period | Usually 2 registered music therapists, sometimes 1 | Registered music therapists delivered No further information reported | Spacious room at large public health facility | Group (n≤15 patient-carer dyads) |
Clark et al. (2020) [74], Australia | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Group Therapeutic Songwriting Brainstorming, reminiscence, lyric creation, music listening, familiar song singing, instrument playing. Encouraged to listen to preferred music between sessions for inspiration Groups wrote and recorded 2–3 songs per group, using song parody and song collage and setting original spoken word poetry to background music. Tailored to meet participants’ needs Whiteboard and markers, visual cues (e.g. photographs), devices for streaming commercial music, guitar, percussion instruments, lyric song books, and recording equipment | 6 x 60-minute sessions, weekly (held over 3.5-month period with 1- to 2-week break) | Each group facilitated by qualified music therapist with an accredited degree and evidence of ongoing professional development | Study design registered Session facilitation protocol Music therapists experienced and received training Study was a feasibility study, included interventionist reflection on treatment and participant engagement | Community aged care support facilities or residential aged care homes Music-listening at home between sessions was encouraged | Group (n=2-3 patient-carer dyads) 4 homogeneous groups based on relationship type (spousal or family) and living situations (IWD in community or care home) |
Clark et al. (2021) [75], Australia | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Group Therapeutic Song Writing Music therapy assessment before program Brainstorming (sharing experiences to find group focus); lyrics (review ideas, find main message and structure); music (explore group preferences and discuss ideas and influences) Each group had 5 sessions and created and recorded 2-3 songs using song parody song collage/original lyrics Whiteboard and markers, song books, lyric sheets, guitar, percussion instruments, speakers, recording equipment and software | 6 x 60-minute sessions, weekly | 2 experienced music therapists | Experienced music therapist who conceptualised the study provided weekly supervision to both music therapists who facilitated TSW groups | Private rooms at community spaces accessed through partnering organisation or residential aged care facility where participants with dementia were living | Group (n=2-4 patient-carer dyads) 4 homogeneous groups based on relationship type (spousal or family) and living situations (IWD in community or care home) |
Dassa et al. (2020) [56], Israel | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Home based music therapy Background information session Adapted to couples’ preferences and needs that day. Singing (with therapist guitar accompaniment), music listening, dance, playing percussion instruments Participants selected music; favourite songs used to elicit reactions and encourage participation. Folk, traditional, religious, and children’s songs/lullabies Small instruments, smart phone, amplifier, YouTube Music therapist phone counselling sessions with primary carer | 12 x 60-minute sessions of music therapy, weekly 6 x 30-minute telephone counselling sessions, fortnightly | 3 qualified music therapists with expertise in area | Experienced music therapists delivered No further information reported | Homes of the individuals with dementia | Individual patient-carer dyad |
Denk et al. (2022) [62], USA | Not reported | Delivered at pre-bereavement, directed only to carers Music therapy support group sessions 7 activities: 1. 15-minute verbal check-in: welcome and sharing updates/challenges. 2. 5-minute movement to music exercises: recorded music played, researcher demonstrated movements. 3. 10-minute guided breathing experience: relaxation and preparation. Researcher provided rhythmic, musical autoharp cues. 4. 5-minute music listening activity: researcher played guitar and sang song related to session theme. Participants given printed lyrics and encouraged to sing. 5. 10-minute music-based activity to connect song content to session theme: researcher-led songwriting or song discussion, allowed participant self-expression and mutual support. 6. 10-minute caregiving discussion experience: opportunity for emotional expression and building relationships during shared experiences. 7. 5-minute verbal check-in: session closure, foster comfortable environment for mutual support. | 6 x 60-minute sessions, bi-weekly | Researcher, a board-certified music therapist with nine years of experience providing clinical services for populations including elderly adults with dementia, Alzheimer’s disease, Parkinson’s disease, and long-term carers | Researcher created program manual containing detailed explanations and session plans | Large, open area within an office building | Group (n=4 members) |
Gallagher et al. (2017) [60], USA | Not reported | Delivered at pre-bereavement, patients and carers targeted Unnamed – “Music therapy sessions” Patient-preferred music, music listening, singing, choosing songs, playing instruments, music-assisted relaxation techniques, analysing song lyrics, and writing songs Music mostly chosen by patient, music therapist, and family. Sometimes by patient alone, music therapist alone, or family alone | 30-90 minute sessions (average 51 minutes) 43% of sessions were initial sessions and 41% were follow-up (16% missing data) | Board-certified music therapist (MT-BC) | Board-certified music therapist delivered No further information reported | Hospice (nursing home or inpatient hospice care facility) or palliative medicine (inpatient, 23-bed palliative medicine unit) | Individual patient alone or with carer. Carers had an active input and were present during sessions |
García-Valverde et al. (2020) [76], Spain | Not reported | Delivered at pre-bereavement, directed only to carers Group songwriting program Developed group climate, trust, and cohesion. Promoted connection and expression through therapeutic singing and musical collage, and explored potential song themes on canvas. Collaboratively created lyrics, then music), and recorded the song. Groups came together for joint closing to share songs and experiences | 12 x 60-minute sessions, over 3 months | Qualified music therapist | Intervention protocol Model and sessions were designed and facilitated by researcher music therapist All groups received same intervention protocol | National Reference Centre for Alzheimer’s disease and Dementia Care of Salamanca (acronym in Spanish, CREA) - music therapy room | 3 groups (n=6-9 members) |
Garcia-Valverde et al. (2022) [77], Spain | Not reported | Delivered at pre-bereavement, directed only to carers Group therapeutic songwriting program (GTSW) In four phases: 1. developed group climate; 2. promoted connection and expression through therapeutic singing and musical collage, and explored potential song themes on canvas; 3. collaboratively created lyrics, then music; 4. recorded the song and groups came together for joint closing to share songs and experiences | 12 x 60-minute sessions, over 3 months | Qualified music therapist | Manualised protocol implied. Intervention process developed in earlier study [76] Interventions delivered by first author All groups followed same intervention protocol | The music therapy room of the CREA (see above [76]) | 3 groups (n=6-9 members) |
Hanser et al. (2011) [65], USA | Not reported | Delivered at pre-bereavement, directed primarily to patient Music-facilitated stress reduction program (delivered by carer to patient) Training session: music therapist met dyad to discuss musical selections (from list of recordings), and rehearse how IWD could be engaged with music Individualised CDs with recorded instructions. Families listened to CD together and chose from following: Listen to carer/IWD’s choice of music and discuss e.g. memories; gentle exercise and movement to music; music-listening and relaxation/ visualisation; music-listening and artistic expression/discussion; singing or rhythmic accompaniment/ improvisation; music listening for specific needs, e.g., to facilitate sleeping etc. | Initial 120-minute training session Families were asked to listen to individualised CD together, 3 days each week. Family members selected days/times. Target goal of 8-20 total sessions | Music therapist trains family carer in strategies conducted at home by the carer alone | Protocol Researcher telephoned carers once a week to ensure that they were implementing protocol, completing the visual analogue scales, and sending data to investigator | At home of individual with dementia | Training session delivered to individual patient-carer dyad Program delivered by individual carer to patient |
Holden et al. (2019) [78], USA | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Home-based Neurologic music therapy (NMT) Carer attended all sessions to learn NMT techniques and improve interactions with IWD Sing/play-along, improvisation, rain stick, fill-in-the blank singing tasks, color-coded bells, reminiscence. Tasks gradually increased in complexity. IWD choice of 3 recordings on weekly theme, e.g. “Travel”. Visual/tactile aids and dyad reminiscence discussion prompts. Closed with goodbye song and therapist provided carer instruction until next in-person session Protocol modified for stage of dementia Guitar, small percussion instruments, pentatonic xylophone, writing materials, song list, visual and tactile aids, theme-based music playlists on a tablet, and carer education sheets | 6 x (first session 90 minutes, remaining sessions 60 minutes), weekly for 6 weeks | 4 board-certified music therapists (MT-BC) with NMT training, trained by MT-BC who designed protocol | Board-certified music therapist MT-BC (R.S.), with NMT training designed protocol. Protocol reviewed and implemented by 4 MT-BCs with NMT training Interventionists trained by the board-certified music therapist MT-BC (R.S.) to ensure standardised and consistent protocol implementation | At home of individual with dementia | Individual patient-carer dyad |
Kim & Dvorak (2018) [58], South Korea | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Unnamed – music therapy session (one-to-one sessions) Music-assisted relaxation (therapist live guitar improvisation, with breathing exercises, for energy and relaxation) Music listening (therapist live guitar music – song selection according to patient preferences) Music-based life review/reminiscence (therapist live guitar music familiar to the patient as a stimulus to evoke, share, and validate memories and feelings) | 1 x minimum 15-minute session | Delivered by board-certified music therapist with 1 year of work experience in hospice, employed at hospice agency in hospice general inpatient care units within a larger hospice | Principal investigator determined minimum session length based on typical therapy services at the hospice Board-certified music therapist delivered Interventionists blind to study purpose and provided treatment as usual in hospice setting | Hospice general inpatient care units within a larger hospice Patient bedside where carers were present with their dying loved one | Individual patient-carer dyad |
Klein & Silverman (2012) [79], USA | Not reported | Delivered at pre-bereavement to carers and patient (patients included in psychoeducational intervention but unclear if also included in music therapy intervention) Music therapy songwriting intervention Group sang familiar song, “With Love From Me to You” (Lennon & McCartney, 1963, track 2) as basis of new composition about coping skills - title, “With Love From Me to Me”. Interventionist asked for participant input for lyric replacement with guitar accompaniment. Guiding questions used to help compose new lyrics. Lyrics typed on laptop and projected onto large screen using LCD projector. At session conclusion, song played in entirety After session, lyrics e-mailed to members | 1 x 45-minute session | Music therapist (4th-year music therapy student at the same university as the care program) | Music therapist delivered No further information reported | Not reported | Group (n=7 members) |
Lee et al. (2022) [80], Ireland | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Community-based live group singing intervention Each session followed flexible structure, driven by participants Session began and ended with vocal warm-ups; goodbye song “Hit the Road Jack” with participants’ names. Aimed to promote social connection (e.g. social warm-ups/games), expression and creativity in-the-moment (e.g. improvisation; song-writing), reminiscence (e.g. familiar songs; discussion), and life-long learning/cognitive stimulation (e.g. addition of harmony lines; unfamiliar songs Tea, coffee, and biscuits provided before and after each session | 6 x 60-minute sessions, weekly | Qualified music therapist with a background in Irish traditional music | Qualified music therapist delivered No further information reported | Private room in community arts centre | Group (n=6 patient-carer dyads) |
Madsø et al. (2022) [66], Norway | Main principles of resource-oriented music therapy | Delivered at pre-bereavement, intervention delivered primarily to patients (carers considered as participating to support patient, rather than being recipients) Active music therapy intervention Musical history of IWD and shared musical history of dyad mapped. Treatment plan including personal goals made in collaboration with dyad. Music therapist came to participant’s home for first weekly session with dyad, and guided dyads in choosing musical activities for second weekly session, initiated by carer (collateral therapist) Activities with therapist or carer: - Singing together (often with music therapist playing guitar, piano, or accordion) - Playing instrumental music together (e.g. drumming, guitar or harmonica) - Improvising music together - Listening to live or recorded music - Moving to music alone or together - Relaxation exercises to music - Activities often followed by conversations about music and/or memories coming to mind | Aimed for 2 x ~ 45-minute sessions (tailored to needs of IWD) weekly, over 10 weeks | Music therapist or carer (collateral therapist) | Followed principles originating from the manual of Rolvsjord et al. (2005) Logged number of sessions received (and who delivered), proportion of sessions dedicated to musical elements, adverse effects, and how participants rated collateral sessions | At home of individual with dementia | First weekly session delivered to individual patient-carer dyad. Second weekly session delivered by individual carer to patient |
Magill (2009a) [81], USA | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Home-based music therapy program Common strategies are as follows: 1. Use of precomposed songs: 2. Lyric improvisation and song composition: 3. Imagery in music: carers may select images that instill peace, security, comfort, and pleasure. Words are accompanied by chants or improvised melodies adapted to meet moods and needs. 4. Music listening. Carers assist loved ones in singing, selecting songs, and participating in the lyrical and musical interactions Strategies to address moment-to-moment patient and carer needs, wishes, and emergent issues | Not reported | Music therapist | Not reported | At home of patient | Individual patient and if relevant, carer (as part of family unit of care, carers invited and encouraged to be present in sessions as often as appropriate) |
Magill (2009b) [82], USA | Not reported | See Magill [81] | Not reported | See Magill [81] | Not reported | See Magill [81] | See Magill [81] |
Magill (2009c) [30], USA | Not reported | See Magill [81] | Not reported | See Magill [81] | Not reported | See Magill [81] | See Magill [81] |
Magill (2011) [83], USA | Not reported | See Magill [81] | Not reported | See Magill [81] | Not reported | See Magill [81] | See Magill [81] |
Mittelman & Papayannopoulou (2018) [84], USA | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Unforgettables Choral Group Practice of melody, rhythm, form, and dynamics. Participants learn nuance of performance, techniques of breathing and vocalisation, and following the leadership of the conductor. Conductors encourage everyone to join in. Both carer and IWD are encouraged to be creative Conductors consult with participants about songs they want to sing. Participants sing songs from their youth and learn new ones Provide enjoyable experiences and give IWD and carers an opportunity to share, create, express, learn, and enjoy time together. 15-minute break with refreshments and opportunity for social interactions and support Rehearsal ends with a song that involves movement/dance | 13 x 120-minute rehearsals, weekly for 13 weeks before each concert They rehearse 18 songs for each concert | Choral conductor and assistant conductor (took turns as piano accompanist), music therapist, and research and support team directed by first author | Music therapist assisted conductors in assuring appropriateness of materials, techniques, and rehearsal strategies. First author directed support team No further information reported | Church setting | Chorus group (size not specified) |
O’Callaghan et al. (2013) [70], Australia | Not reported | Delivered at pre- and/or post-bereavement, directed to patients and carers Music listening by the bereaved. Song writing by the deceased and the bereaved Carers’ deceased family members had written songs in music therapy which were recorded on CDs, offering continued connection after death. Recordings of songs were played or sung live by carers at family members; funerals Four participants had shared music therapy sessions with the deceased | Not reported | 1 music therapist/researcher (previously had provided music therapy to 2 participants who had shared music therapy sessions with the deceased) | Researcher/music therapist delivered No further information reported | Not reported, but assumed to be the hospital or hospice where the music therapist/ researcher was previously employed | Delivered to individual patients, prior to their death (4 carers had shared these sessions; 2 carers had not personally experienced music therapy but knew that the deceased person had received music therapy) |
Potvin et al. (2018) [31], USA | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Hospice-based collaborative musicking Co-constructed recreative musicking (familiar, precomposed music re-created through any combination of voice, guitar, piano, and percussion), communal music therapy (engagement of other entities, such as individual residents or the general milieu in a care recipient’s long-term care facility), and legacy projects (musical artifacts, e.g., video recordings of sessions, etc.) Carer roles: director/conductor, primary vocal, secondary vocal, or musical presence Music tailored based on patient assessment and adjusted to carer patient preferences and engagement | Not reported | Board-certified music therapist | Board-certified music therapist delivered No further information reported | Hospice, homes and long-term care facilities | Individual patient-carer dyad, some communal activities in long-term care facility (group size not specified) |
Raglio et al. (2016) [85], Italy | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Structured Active Music Therapy (AMT) Strategies, and mode of delivery, etc. not reported apart from reference to “sonorous-music” | 12 x 40-minute sessions, twice weekly | Trained music therapist | Trained music therapist delivered No further information reported | Not reported | Individual patient-carer dyad targeted |
Särkämö et al. (2014) [59], Finland | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Music listening intervention (group-based music coaching programme) Listening to CD songs and discussing emotions, thoughts, and memories that they evoked. Visual cues (e.g., album covers) used to stimulate reminiscence Traditional folk and popular songs selected based on IWD preferences. Session themes (e.g., childhood) or how to use music in everyday life (e.g., for reminiscence). Homework: music listening, with aim of rooting music activity to everyday home setting Final session - participants given compiled CDs of their favorite songs and encouraged to continue musical activities at home on regular basis | 10 x 90-minute sessions, weekly at each centre | Music therapist | Session participation, homework completion, and continuation of activities after intervention monitored (appears to be retrospective) No further information reported | 5 day activity centres and inpatient centres | Group (n=5 patient-carer dyads) |
Tamplin et al. (2020) [63], Australia | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted ParkinSong Group Singing Programme Vocal warm-ups, exercises and activities designed to develop and extend respiratory strength and control, vocal loudness, articulation, pitch control, and communication confidence, and address sensory processing deficits. Communication strategies taught and practised to increase vocal loudness and to improve self monitoring of communication and internal cueing. Built on during singing activities using familiar songs and rounds, with focus on respiratory support and high intensity vocal effort Socialisation and refreshments at end of each session (informal opportunities to practise communication strategies in safe and supportive peer environment Songs selected according to participant preference and in accordance with ParkinSong guidelines | Weekly sessions compared with monthly: Weekly: 120-minute sessions, weekly over 12 months Monthly: 120-minute sessions, monthly over 12 months Total sessions not specified | Weekly: Music therapist, speech pathologist and allied health assistant Monthly: Community musicians and volunteers with training and support from music therapists and speech pathologists All facilitators received training in ParkinSong protocol | ParkinSong protocol Facilitators received training in protocol with regular fidelity checking from research team | Not reported. Only notes “safe and supportive peer environment” | Group (size not specified), with patient-carer dyads |
Tamplin et al. (2018) [86], Australia | Not reported | Delivered at pre-bereavement, patient-carer dyad targeted Remini-Sing Music Therapy Intervention (group singing) Singing-based activities to enhance memory, communication, wellbeing, and group cohesion. Vocal warm ups (e.g. breathing, vocalising, physical exercises), singing familiar, participant-requested songs, learning new songs, harmony parts, rounds, and singing skills, and social interaction and peer support over afternoon tea Songs acapella or accompanied with live music on keyboard, guitar, and or banjo by music therapists. Song keys adjusted as needed to match vocal range of group. Variation of musical elements introduced as groups became more comfortable singing together (e.g., dynamic variation, simple harmonies, movement to music) Name tags, appropriate seating, accessible facilities, large screen projection of lyrics | 20 x 120-minute sessions, weekly | 2 trained music therapists | Trained music therapists delivered No further information reported | Patients and active carers targeted Sessions were held in a spacious room at a large public health facility | Group (n=9-12 patient-carer dyads) |
Teut et al. (2014) [68], Germany | Not reported | Delivered at pre-bereavement, primarily delivered to patient, (body tambura placed on or near patients’ body, but carers who were present were considered to have “experienced” the intervention) The Body Tambura Body Tambura either placed directly onto the body of the patient while lying down or played a short distance away from the patient. Each session began with greeting, short introduction and a request for feedback on the previous session. At the end of each session, the patients had the opportunity to give feedback and share their experiences | Up to 5 x 5-30-minute sessions (determined by patient requirements), weekly | 2 experienced music therapists, both having more than 10 years of professional experience | Experienced music therapists delivered No further information reported | Stationary 16-bed hospice | Individual patients and carers (body tambura placed on or near patients’ body, but family carers who were present for the treatment were considered to have “experienced” the intervention) |
Thompson et al. (2022) [87], Australia | See Tamplin et al. [86] | See Tamplin et al. [86] | See Tamplin et al. [86] | See Tamplin et al. [86] | See Tamplin et al. [86] | See Tamplin et al. [86] | See Tamplin et al. [86] |
Young and Pringle (2018) [61], Canada | Not reported | Delivered at post-bereavement, directed only to carers Singing Well group - community hospice-based postloss bereavement music therapy group Various creative vocal expression, e.g., breathing and relaxation, vocal warm ups, humming, toning, chanting, vocal improvisation, song writing/song sharing, group singing (participants’ song choices), and a closing song Structure adapted to participants’ needs 2 Songbooks (lyrics only). When a participant requested a song not contained in the book, facilitators improvised, participant lead singing, group sang along with online recording, or facilitators learnt song and offered in a subsequent session | 6 x 90-minute groups, over 3-month period | 2 certified music therapists (MTA) with a combined total of 42 years of experience | Pilot sessions informed development of protocol Experienced music therapists delivered | Community hospice | Group (n=7 members) |