Search
Close this search box.

Music and Health

Reflections on practice: The Art of Conversation

marydunsfordWorking as an associate musician for OPUS provides me with the great privilege of working musically within my local hospital setting. Three times a month, I visit both adult and paediatric wards at Furness General Hospital, making music for and with patients, staff and visitors.

Unlike the main OPUS music in healthcare practitioners, my work is mostly solitary, and I am aware of how this brings slight differences in our practices. I am also learning all the time, and the ‘expect nothing’ mantra is key to approaching each interaction with eyes, heart and mind open.

Music in a clinical setting has potential for impact in so many ways, from bringing a change in the atmosphere, providing comfort and distraction, reinforcing the well side of patients, through to providing some autonomy and control in a setting where so much can feel out of a patient’s hands.

Perhaps the biggest, lasting impact I notice in my own work is that of being the starter of conversations. On a bay of 6 beds, the shared experience of the musical presence frequently opens up interaction between patients on their own music experiences. The joy of music is something almost all have been affected by at some point or other in their lifetimes.

It is something we all have opinions on – ‘I don’t like this modern stuff’ ‘I like all sorts of music’ ‘You can’t beat the old classics’ ‘You can’t beat a bit of rock & roll!’

It is also something many have had lasting experiences with, whether it was watching live-aid or the proms on the telly, to seeing an act live on stage or at a wedding. Not forgetting how many of us either had the opportunity to learn an instrument as a child, or wish that we had. Perhaps family members play something now.

Conversations starting from the basis of music can lead to all sorts of further topics, from who is in your family to the places you’ve lived over the years… And even if no memory is sparked from being a part of this musical experience in the hospital, there is always the current shared music itself to discuss!

Also of note, is the way the music can spark non-medical interactions between staff and patients. Whilst of necessity tending to be briefer, these discussions take place between two human beings, at once equals and brought together by this shared experience. No longer a care-giver talking to a poorly person, the music can really have an impact, allowing both to see the other for the human being they are.

And let us not forget the family and visitors of patients, who may sit at their bedside for hours at a time. As before, sharing in the music together can spark so much to talk about, often when the day-to-day news has dried up. It can also provide a respite from having to talk at all – an opportunity to be present together without need for words – and this can be just as valuable.

I have also had the privilege to witness the presence of live music-making provide opportunities for parents of very young or very sick children to find additional ways to engage with their loved ones. Where words aren’t cutting through to a child’s understanding, the music can. As their mother, father, grandparent, aunt, uncle hold them close, or stroke their head, or hum and sing along, it can really help to convey their love, their caring, their desire to comfort.

I have found in all my work as a musician in healthcare that where the music itself ends, the interactions it sparks continue to ripple through the space remaining, often long after the musician has gone. Perhaps one of the biggest impacts of my work is when I am not present to witness it…

—–

Mary Dunsford is an associate musician of OPUS Music CIC, and has been working at her local hospital setting, Furness General Hospital, for the last 12 months. We are delighted that Mary has been granted a further 2 years funded residency, through the Sir John Fisher Foundation, to continue her programme of work making music on her harp for and with visitors, staff and patients at their bedsides.

Listen here for a BBC Radio Cumbria clip of Mary’s work from last year.

 

Reflections on practice: Responses to music in hospitals

nick cutts 1 300We get a wide range of reactions to our music-making in children’s hospitals – from the babies, children and young people themselves, and from their families and staff.

Staff greet us with delight as colleagues, often give us a ‘heads-up’ about their ward, and go about their work with the confidence that we will contribute positively to the environment and the people within it.

Patients and their families, especially those who have not previously experienced music-making in the hospital, often greet us with a look of surprise and amazement that music is ‘allowed’ in such an environment. Many instantly express delight that music can now be part of their hospital experience, some exhibit initial slight concern or embarrassment about what might be expected of them in return.

The interaction between professional musician and professional healthcare staff, both working as part of the same team, along with some gentle confidence on the part of the musician of their place and potential value in the setting usually sets everyone at ease, and allows the music to flow from everyone.

There are some patients, however, for whom there are no inhibitions, potential embarrassments or pre-conceived perceptions of what a musical offering could be. We met one such patient recently in an Accident and Emergency department. Sitting on his Mum’s knee, this young baby engaged the moment we began to play. Showing no signs of embarrassment, he looked straight into my eyes and connected instantly. He had been crying before we entered the space, but was now transfixed by the music and the human connection, and began gently wriggling and vocalising along to the music, taking time out occasionally to grin at his Mum and at us until eventually gleefully playing a shaker along with us. The sense of relief and joy between baby and his Mum was palpable.

At the same time, an older boy was sat with family in the next bed. His initial reaction, and to some extent that of his family, was one of giggling, possibly through embarrassment and the lack of ‘coolness’ of the whole situation. He and his family, however, watched intently as we played for the baby and his Mum. What I think they saw, was a musical connection made between musicians and family, one where no-one had any expectations, where everyone could be exactly who they are, and where they could all be part of a beautiful artistic exchange.

By the end, the older boy was filming us on his ‘phone, watching everything intently and joining in with songs along with his family. His family said he had been very upset before we arrived. We had, at least for a short while, given him some relief from this, and demonstrated the impact of strong connections made through honest music-making. As we left, he smiled, clapped, and thanked us for visiting. Upset was replaced by delight in the shared experience he had just been part of with his own and another family, and with the two rather ‘uncool’ but egoless musicians who had, for a short while shared some quality time through music making.

Music, especially in the hospital environment, gives everyone the chance to be themselves, to forget inhibitions and embarrassments, and to make human connections and great music which supports their own health and wellbeing.

Nick Cutts
Director, Musician & Trainer, OPUS Music CIC

Music in Healthcare Settings Conference: Derby, 16 July 2015

royal derby hospitalThursday 16th July 2015, 9.30am – 4.30pm Education Centre, Royal Derby Hospital, Uttoxeter New Road, Derby, UK.

We are delighted to launch the forthcoming International Music in Healthcare Conference, hosted by OPUS Music CIC in partnership with Royal Derby Hospital and Air Arts to Aid Wellbeing.

Bringing together music for health practitioners, healthcare staff, promoters, funders, researchers and other key stakeholders, this event promises to provide stimulus for discussion and debate around the ongoing development of Music in Healthcare settings across the UK and beyond.

A mix of thought-provoking presentations and discussion groups throughout the day will leave all stakeholders with new contacts and new ideas for continuing to develop their own practice.

Places are available to book for a modest charge of £10 from the Eventbrite link below (includes tea and coffee on the day).

Eventbrite-logo
We are also hosting a Music in Healthcare Settings ‘Music Sharing’ day on Friday 17th July 2015, to be held in Derby. Any musicians attending the conference are invited to come along from 9.30am-3.30pm (stay for as long or short a time as you like!) to make music with like-minded musicians (small charge of £2 payable on the day to cover refreshment costs).

Please email us at conference@opusmusic.org if you would like to come along to the Music Sharing day.

Reflections on Apprenticeship – Joe Danks

joe danks b&wMy experience as a Music In Healthcare Apprentice in 2014/15 has provided me with a fantastic platform to build my own practice in the coming months and years. I strongly believe that good MiH practice comes from experience, and that this work is all about learning how to adapt to different situations.

One thing I would like to highlight is how a combination of non-verbal approach techniques and repertoire in different languages can help overcome some of the challenges posed by cultural diversity in our hospitals. Instrumental music is not bound by language constraints at all and part of good practice is using repertoire with a ride range of languages. Working as a MiH practitioner has strengthened my belief that music is hugely effective as a communication tool between people from all backgrounds and all ages. There are countless examples of this happening in the last 6 months, and it was been noticeable from when I first engaged in this work in November 2013.

One that springs to mind happened in a neo-natal intensive care unit. Myself and Oli were working as a pair in a small space with 3 newborns. These rooms can often feel very cramped and often the breathing apparatus and monitoring machines can make them feel very noisy. For this reason it is important to be aware of the sound you are making and make sure you are not just contributing to the hum of medical equipment and causing a negative effect. Whilst we were making music with ukulele and melodeon, I feel that the most effective instrument in that space was our voices. We sung, Kyla Vuotti Uutta Kuuta (a traditional karelian wedding song sung in a Finnish dialect) and Zamina Mina (a cameroonian song sung in Fang). We also sung some traditional English Lullabies like Twinkle Twinkle Little Star. This seemed to be working well and the two parents in the room were making physical contact with their children and even singing to them!

We were then greeted by a young girl around 5 or 6 who had come to visit her baby sister; she was accompanied by her mum. We continued to play as they got settled. I then went to fetch the box of instruments from outside the room, and chose the Glockenspiel to get out first. I continued to play along with Oli on Melodeon but on the Glockenspiel now. Being aware of the sensitivities of the space, I carefully chose which beater to offer to the young girl and continued to play very quietly along with the music. The young girl hesitantly began to join in and grew in confidence as the music continued. We played 5 Little Speckled frogs together, and then she took to a spark shaker as we played Galopede, an english country dance tune. We were aware all this time of the other parents in the room smiling and vicariously enjoying the music making through the young girl who was clearly having a wonderful time.

As the final tune wound to a close we were asked to stop by a member of the medical team as one of the babies in the room was about to have an X-Ray and they had to move the X-Ray machine into the room. We did so quickly and packed away our instruments. It was only then did we say thank you to the young girl for playing and realise that she spoke very little english. It struck me that we had managed to facilitate music making for a young person, relax the room and provide music for patients and parents, and perhaps most crucially of all provide a platform for parents and siblings to interact with their newest family members using almost no words.

It is important to say that this is one of the instances where music has really been useful to overcome cultural barriers, but this is not always the case. There has been times where it has not worked so well (presuming that every child knows wind the bobbin up springs to mind!). Even the trickiest interactions provide an opportunity to learn, and I am trying to soak in as much as I can from the apprenticeship programme as I begin work at Great Ormond Street Hospital, a hospital that will provide an even more diverse body of young people to make music with and learn from.

Music in Healthcare Settings Apprenticeships: 2015-2016

APPLICATIONS ARE NOW CLOSED
Many thanks for the many applications we received.
We look forward to announcing our new Apprentices for 2015/16 soon.

We are delighted to launch the second year of our Music in Healthcare Settings Apprenticeship programme.

From September 2015 to June/July 2016, we are offering four paid apprenticeships, exploring Music in Healthcare Settings practice alongside highly experienced OPUS Musicians and Trainers and supporting the development of new programmes of practice.

Click on the following links for more information:

Full Apprenticeship Programme Details (pdf)
Apprenticeship Timetable (pdf)
Application Form (word)
Application Form (pdf)

The deadline for applications is midday on Friday 5th June 2015 with interview/auditions to be held in Derby on Friday 12th June, Monday 15th June or Tuesday 16th June 2015.

** ADDITIONAL INTERVIEW DATES ADDED **

This programme is made possible with the support of public funding by the National Lottery through Arts Council England.

lottery_png_black1

Reflections on Apprenticeship – Dave McKenny

dave mckennyI have met and played music with James (name changed) several times while he has been receiving treatment in hospital. Our first encounter was on my second day as an OPUS Apprentice and remains one of my most memorable experiences so far. James’s Dad saw us coming down the corridor and, after checking with James, invited us in. As the three of us entered his room James greeted us and asked my name as I was new. After a brief sizing-up of our instruments James began leading us in a musical improvisation. Eyes shut with concentration he conducted us effortlessly, without hesitation, his every hand gesture full with musical expression, which we followed with equal focus. Often he would sing out and whoop and we would respond and riff on his signals. It was wonderful to see someone so completely engrossed in what they were doing artistically, beyond all sense of ego. He channelled every part of himself into creating the music he wanted to hear. The joy and satisfaction we were feeling resonated through the room and out into the corridor, prompting nurses and James’s Dad to look round the corner, smiling and nodding their heads. “That’s James” his father said as we left, with look of pride.

For the next few weeks I found myself secretly ‘hoping’ to see James, so we might relive our great musical encounter. I felt that perhaps this was a selfish thought, as he was hopefully out of hospital and living his life. This is something that happens so often with music; the wanting of those great moments all the time. Yet my role as a Musician in Healthcare demands so much more than this. The hospital is a challenging, ever-changing place where no two visits are the same. A patient’s conditions can fluctuate, on one visit they might feel like music, the next visit their door maybe shut, the lights out and with little sign of activity.

For me, James’s playing demonstrated so clearly the principles we work by as Music in Healthcare practitioners. To be open and generous with the music we make, sometimes playing, listening, and with sensitivity and a feeling of wellbeing within ourselves.

Dave McKenny, Music in Healthcare Apprentice, OPUS Music CIC
February 2015

Lift Music…..

Working one day in Leicester in October 2014, we spent some time on a Ward playing for a whole Bay to listen to. There were several families there who had obviously been waiting for some time, for a procedure or surgery. The curtain was closed around one bed, but when Dad heard the music he threw back the curtains and made encouraging comments. His little boy was about 3 years old and quite shy to begin with, but with gentle encouragement and plenty of time and space, he found the confidence to have a go. He tried the shakers to begin with and then progressed on to the glockenspiel. We played Diamond Day and a few other pieces that engaged each family.

After playing Waltz vor Polle in the bay next door, it was time for this little boy from next door to go down to theatre. He was waiting in Dad’s arms by the reception desk, crying and becoming increasingly upset. We came over to him again, still playing, and immediately got his attention and he stopped crying. As we started Wind The Bobbin Up, Dad said he became much more relaxed and calm in his arms. We offered to play and sing as they went down to theatre, and they all liked this idea a lot … our young patient still very much calm and relaxed.

As we walked off the ward, down the corridor to the lifts area, we switched to Twinkle Twinkle, as I thought perhaps if we were unable to go down in the lifts with them, Mum and Dad would be able to continue singing. … But we all fitted in the lift … and as the doors opened on level 3, to a very surprised audience awaiting the next free lift, everyone smiled. Still our little friend was engaged with the music and quiet.

Finally, we reached the doors to the theatre waiting area and left this family. A tired, grateful father said thanks and the doctors smiled in appreciation.

Newspaper Article: Music in Health practice at QMC, Nottingham

 

james qmc

From Nottingham Post, 19 June 2014

MUSIC is helping an 11-year-old boy battle crippling headaches which have left him unable to attend school.

Mrs Bell said:

“James gets really down when he is in hospital because he sees other children and he can’t do what they can do, but he gets so excited about OPUS – the first time he did a session with them he was beaming. James feels that he is creating music and for that time the pain and depression does not exist and it is just wonderful. What they do is absolutely vital for so many people and it has inspired me to play piano at home and we have started singing together.”

Consultant pediatric nephrologist Martin Christian, from Queen’s Medical Centre, said: “It would be a disaster if we didn’t have them. Some of our patients are mesmerised by them when they come round and they give them a huge psychological boost. I think there is something incredibly calming about the music which has a positive effect on both the staff and the patients.”

Barbara Cathcart, chief executive of the Nottingham Hospital Charity, said: “There is something special and powerful about what OPUS Music does for the children, including known benefits to their healing. These types of projects are made possible through the generosity of our donors, for which we are very grateful.”

Click here for the full article

Continued music-making residencies in children’s hospitals

We are delighted to be able to continue, and expand our existing relationships with Derbyshire, Leicester, Nottingham and Kings Mill Children’s Hospitals with support from Youth Music and from our local and hospital partners.

This support means that OPUS musicians will now visit each hospital on a weekly basis until April 2016, making music for and with the patients, their families and staff.

Our recent evaluation and documentation work has demonstrated the highly valued impacts of this practice; we are incredibly grateful for the support of all our partners in enabling this work to continue.

youth music full logo

OPUS Associate Musician: Mary Dunsford

marydunsfordWe are delighted to introduce Mary Dunsford, Harpist and OPUS Associate Musician who we have been supporting in establishing a programme of ‘Harp in Healthcare’ at Furness General Hospital, Barrow in Furness.

This programme, taking place for the remainder of this year, is supported by funding from the Sir John Fisher Foundation, and sees Mary visiting the hospital on a weekly basis, making music on both adult and paediatric wards, mentored by OPUS Musicians and Trainers.

Here’s a great audio clip from a recent BBC Radio Cumbria broadcast featuring this project…

We are delighted to have Mary on board to develop this practice in Cumbria.

Nottingham Children’s Hospital Mentoring – Final Thoughts

Angela Kang:

Angela Kang 2 b&w

What does a hospital musician do? This was a question asked at the beginning of working with Opus Music CIC. It was a question that seemed straightforward and simple to answer. Truth be told, one cannot fully understand and appreciate the many diverse aspects of this role without actually physically being in the hospital wards, taking part in the music making, or watching first-hand. Reading a scholarly article, training manual, or a blog entry can only give you an impression of what might take place. The positive benefits of music in healthcare settings are well-documented. Watching a video is perhaps the closest you can get to understanding without being there, but it still cannot fully convey the emotional and multi-sensory experience of delivering and receiving music in a busy hospital ward. Explaining to others the work you do never seems to do justice to the magic that actually takes place. One thing is clear: a hospital musician needs to be empathic, understanding, creative, and able to adapt their approach to a range of medical situations. With these skills, an array of exciting possibilities can be explored to engage patients, visitors and staff in music-making and create open spaces for cultural exchange. Bringing music into healthcare settings is always personalised and uniquely directed towards the particular mood and setting of a ward, group, or individual – that is why it can be difficult to explain. As Plato writes “rhythm and harmony find their way into the inward places of the soul.” Music is a form of communication that is far more powerful than words, far more immediate, and can be far more effective.

 

Joe Danks:

joe danks b&wOver the last 4 months I have been participating in a training programme delivered by Opus Music. The programme mostly involved me delivering musical interventions at the Queens Medical Centre, but also involved a day spent talking about our experience as mentees. It is with great sadness that I wave goodbye to what has become a part of my routine, and a part that I looked forward to each week. I would like to thank Opus for the high quality training I have received, and recognise the patient and gentle nature of the musicians I have worked with. I would also like to express what a joy it has been to spend time in the hospital school with the selfless hospital staff and teachers; the hospitality from everybody at the QMC Education Base has been wonderful.

I said in my first blog post that the real treasure in this work lay in the young people that we met on a day to day basis, and I am even more convinced of that after 10 weeks than I was after 3. The sheer diversity of character displayed throughout Nottingham Children’s Hospital is constantly astounding, and the positivity reflected back to us as musicians is immensely rewarding. The positive effects of music are very clear to me, and I have experienced its wide ranging benefits on a regular basis all the way through my life and I feel like the mentoring process has allowed me share a little bit of this with people when they need it the most, and that’s been really fantastic. I think its important also to recognise not only the social and psychological benefits but the educational benefits of this work. I’ve spent a lot of time talking about my instruments (Guitar, Ukulele, Percussion) to young people and parents, and I feel like people have really learnt about music as well as participating in playing it.

Music In Healthcare has gradually become a part of my life, and I am striving to make it a part of my future plans. I am hoping to visit projects across Europe, and hopefully engage in some music making with those projects. I have been instilled with a passion for the importance of this work and I intend to continue with it for many years to come. Huge thanks again to Opus, Hospital School and also to Angela Kang who has been my fellow mentee during the process. Its been a pleasure working with all parties.

Nottingham Children’s Hospital Mentoring Reflections – Angela Kang

Angela Kang 2 b&w

Knowing what type of music will enhance the psychological and physical wellbeing of patients relies on empathy and intuition. There are two things that are always necessary for this type of work – appropriateness of musician, and the appropriateness of musical selections. Empathy (personal and musical) is of great importance. First and foremost, a hospital musician needs to survey the situation, and identify whether a patient would be happy to listen to or engage with music. In some cases, this can be quite obvious (a smile, a curious stare, parents directing attention of the children, a willingness to engage in conversation). For example, the other day a hospital teacher informed us that a teenage girl was struggling to complete a piano composition for her school exams, and would be delighted to meet Opus musicians for some inspiration. We created the opportunity for the young girl to develop her ideas, and encouraged her to feel confident in improvising as together we instigated a medley of improvised musical waltzes. Although focused on one patient, it was clear that others on the ward were happily watching.

 

In other cases, whether a patient is open to listen to or engage with music is much less obvious. In this situation, a gentle and tentative approach is best. It might also be appropriate to ask if they would like to hear a song – giving the option to a child patient (who often does not have choices concerning medical interventions) can perhaps be liberating. For example, the other day, a young child looking a little unhappy and fatigued was cuddling up to her mother in the corner of a ward. Her mother was clearly delighted to see musicians coming over to pay special attention to her little one, and this enthusiasm from mother triggered a little smile from the fatigued girl. We gently played ‘Yellow Bird’ as they happily watched, midway handing over a shaker to the little girl who (despite her tiredness) wanted to join in. At some point, her curiosity about the accordion led her to ask about it, and we let her press a few keys – which perhaps made the connection a little more personal. After this, realising she probably might want to rest, one of us asked if she would like some more music, or if she had enough for that day. She chose to rest, and looked happy as we gently said “thank you for playing, and goodbye”. Knowing how and when to end a musical interaction requires a good sense of empathy and intuition.

 

We have a range of musical pieces that we can play and improvise with. Sometimes a well-known and catchy song might be in order. However, sometimes, a well-known piece can evolve into a new and totally improvised piece of music – which can be equally effective and appropriate. According to Vescelius, “discrimination in the choice of music is essential; in ill- health one does not enjoy a musical banquet but a musical specific” (Vescelius, 1918).

 

Nottingham Children’s Hospital Mentoring Reflections – Joe Danks

joe danks b&w

There are lots of skills required for this work, and as I come to the end of ten weeks training I realise there has been a huge amount of progression in all areas. I also understand now probably more than ever that there is a long way to go and even were I to train for ten years there would still be situations and interactions that would surprise me, and situations I could learn from. This has been demonstrated throughout the process, with new challenges presented every week. I think this is best described as a non-linear learning experience, as some weeks you feel like you really feel like you have made progression and some weeks you feel like you are back to square one. The diversity of challenges is equally reflected in the diversity of reward, and there is a new joy to be found every time you meet someone new.

There are lots of musical skills that I have found to be invaluable in this process, I must say most of these have come from my experience in the folk tradition. I would like to focus on watching as a purely musical discipline. Whilst watching the young people, parents and staff is of paramount importance, I am focusing on the way we as musicians watch each other. In my opinion the way in which we watch each other is closest in style to the way that I would watch fellow musicians at a folk session. The music works in a very democratic way, far from the dictatorship of a classical conductor. This is intrinsic to the way we work, but it does bring its own obstacles. It certain situations it is necessary to communicate a vast amount of information in a very short amount of time. This usually takes the form of simple eye contact; I don’t think I’ve ever appreciated my eyebrows quite so much! There is also a lot of information communicated with body language. Little ducks down to designate volume or hand signals to gesture to drop to just voices for example. I’ve done an awful lot of discreet pointing. For this to work, is it crucial to have a good musical rapport with your colleagues. I think this comes from experience playing together, and experience playing in a hospital context. Knowing how each musician plays is really important as there is no set structure and the form is very loose. You need to be able to follow each other. This is something that you develop from getting stuck in and doing, and a skill I feel like I possessed before, but one that has developed hugely through my mentoring.

Spatial awareness is crucial to the success of this work, and takes 2 different forms. You need not only to be aware of your physical position in the space, but also your sonic position. There is a real difference between playing to a space and playing to an individual. Sometimes it seems appropriate to play for a whole bay from the adjacent corridor as opposed to entering the space to interact. Sometimes this is a doorway into interactions but often it is deemed more beneficial to simply play for a few minutes and move on from the space. Receiving music passively is often all that a patient can engage with, and this is a good way to provide stimulation without being overbearing. Conversely, the work that we do often requires us to get extremely close to patients. This requires a great deal of tactfulness and awareness. Moving towards a bed is very easy to get wrong. Awareness of your own size, and your instrument’s shape and appearance is very important; otherwise you run the risk of coming across as something to be feared. Learning to show your openness with your body is important. As hospital musicians we often joke about working in the hospital being a great workout, but it is very true. A huge majority of interactions happen whilst I’m on my knees or squatted next to a bed. Putting yourself below a patient can transfer control to them. It is also important as it helps you present your instrument. Feeling the sound is very different to just listening to it. I remember very clearly an occasion where my colleague Angela had a young man in a wheelchair simply holding the two halves of the accordion whilst she gently worked the bellows. He could feel and hear the air rushing through the accordion and it was having a huge impact on him, it was really wonderful to watch.

Whilst your position in a space is a tool, it is also something to be careful of. Angela and I have joked about being like the ‘Men In Black’ in a space, but it is a really useful comparison! We often enter a space back to back and face one half of the ward each. This allows us to see everything that is happening whilst we play, allowing us to mitigate any negative effects of the sound we are creating. Another way of doing this is to have one musician dedicated to observing the wider space and not engaging one to one with patients. The wandering musician in the middle of the bay acts as a lookout, and watches for anything that we might need to be made aware of. This becomes much trickier when all the musicians are engaged with patients, and this is why it is helpful to have 3 musicians in the hospital at any one time. We need to be careful of our position in a space, but when used well our body language and positioning are some of the most powerful tools we have.

 

Taking the Lead on Music for Wellbeing: Continuing Professional Development opportunity

From early 2013 to March 2014, Taking the Lead is supporting young people’s development through leadership opportunities in and around music making. Young people develop their leadership skills through musical activity within youth and school settings before taking music-making into care homes within their own locality.

As part of this programme, we are offering a FREE CPD day led by Nick Cutts of OPUS Music CIC.

Friday 28th March 2014, 10am to 3.30pm, Post Mill Centre, South Normanton

Are you involved in, or interested in:

  • finding out more about this project?
  • delivering music-making to support health and/or wellbeing?
  • developing interactive music-making in your own health/care setting?
  • supporting young people to make music within their own communities to support health and/or wellbeing?
  • running a music/arts in health project?
  • supporting the development of this practice?

If you answer YES to any of the questions above, please come along to support this day.
What to expect:

  • a mix of fun, creative music-making approaches (no prior musical ability required)
  • sharing of findings/experience gained from the Taking the Lead project
  • facilitated discussions on developing and supporting this practice

The day will be designed around those attending, drawing upon the skills and knowledge of the group, and supporting the individual needs of each attendee. The knowledge gained from the day will feed into a project ‘toolkit’ to support the development of this practice.

NB. The day will have a different programme to the two Taking the Lead CPD days held in May/July 2013, so is suitable for attendees to these previous sessions. It is open to anyone living or working in Derbyshire.

Taking the Lead is an Arts Derbyshire project, supported by Derbyshire County Council and a grant from leading UK charity Youth Music. www.youthmusic.org.uk

For more information or to book your FREE place, please contact Priscilla Baily, Project co-ordinator (p/t), Taking the Lead

Priscillabaily@rocketmail.com

Tel: 01773 831359
www.derbyshire.gov.uk
www.artsderbyshire.org.uk/projects/arts_and_health/taking_the_lead/default.asp

derbyshire logo

 

Evaluation: OPUS in Children’s Hospitals

OPUS’ current music in hospitals programme, taking place in Derbyshire, Leicester, Nottingham and Kings Mill Children’s Hospitals, is coming to an end in March 2014. We hope to resume the practice in May 2014, funding permitting! As part of the current programme, OPUS engaged the services of Evaluation Consultant Dr Anneli Haake to evaluate the programme. Anneli has done a fantastic job, capturing evidence of the impacts of this practice and pulling this all together into academic and summary report documents, an A1 size academic poster (for display in hospitals) and the film (3 versions) previously shared here. View and/or download the files by clicking the images below, and please feel free to share! Huge thanks to Anneli for all her work on this project with us.

summaryreportpage1

academicreportpage1

 

poster

Nottinghamshire Hospice

 

OPUS Musicians Nick Cutts and Oli Matthews have been visiting Nottinghamshire Hospice on an (almost) weekly basis on Thursday mornings from September 2013 to February 2014, making music for and with patients. Patients, volunteers and staff have engaged with the music, some enjoying simply listening, while others have played and sung along, sometimes making their own music using OPUS’ collection of instruments. We have discovered musicians, new (and old!) music and memories throughout. This has been an extremely enjoyable and rewarding project, and we hope to return in the not too distant future. Many thanks to Nottinghamshire Hospice, Creative Art Therapist Co-ordinator Andrea Grealy and funders including the Doyly Carte Charitable Trust and The Sir John Sumner’s Trust.

DSC_9569 edited

20130919_095224

Sunshine in My Heart Film: OPUS in Children’s Hospitals

We are delighted to share our film, made as part of the evaluation process of our current Music in Children’s Hospitals practice supported by Youth Music, Derbyshire Hospitals Charity, Nottingham Hospitals Charity, Leicester City Council and Nottinghamshire County Council. The film was captured at Nottingham and Leicester Children’s Hospitals by our fantastic external evaluator Dr Anneli Haake.

There are three versions of our film. The full film is 24 minutes long, but if you don’t have the time (please try to make time, we think it’s worth it!) there are 4 minute and 1 minute ‘tasters’. Please do get in touch and let us know your own reflections on our film..

Full film (24 minutes)

4 minute ‘taster’

1 minute ‘taster’

 

Nottingham Children’s Hospital Mentoring Reflections – Joe Danks

joe danks b&w

Hi, I’m Joe and I’m a young musician from Nottingham. I have studied percussion for close to ten years now, and I also sing and play guitar and ukulele. I have worked in a wide variety of professional and community music environments including live theatre and even a french circus! I currently work as an apprentice with Nottingham Music Hub, teaching young people on a daily basis and organising projects for young people in Nottingham City.

My experience so far with Opus Music has been overwhelmingly positive. The warm welcome from hospital staff has been brilliant, as has the welcome from patients on the wards. Alongside this I have had the opportunity to work with some fantastic musicians and above all, friendly people. The tactful approach to the sensitive nature of this type of music making has been very tricky to master and I’m aware that I’m not there yet, but the training process has felt relaxed and safe and I feel like this has facilitated quick learning.

One of the fantastic things about Opus is that there is absolutely no pretence and no ego. All of the musicians I have met have only had one aim, and that is to improve other people’s quality of life. This is such an anomaly in the professional music world that it really takes you by surprise. The selfless nature of the practitioners of this work is astounding, and something I hope to mirror in the way I engage with not only this work, but in my wider engagement with community and professional music. I feel like this attitude may have evolved out of the environment in which we are working. In the hospital a tireless and dedicated medical team who show genuine care and empathy towards their patients surrounds you. This can only have a positive impact on the way that we work as musicians.

All that said, the real treasure and reward from this training lies not with personal development or heightened musical ability or awareness; it lies with the people that we meet. Engaging with a broad spectrum of complex, intricate people with a variety of different needs has shown me another aspect of the multi-faceted benefits of music. I am meeting people I would never meet in my day-to-day life, and making music with them and this can only be a positive thing.

Nottingham Children’s Hospital Mentoring Reflections – Dr Angela Kang

Angela Kang 2 b&wMy name is Angela Kang and I have taught and researched about music at the University of Nottingham, University of Hong Kong, and currently at Rose Bruford College of Theatre and Performance where I teach and design modules for the opera degree programme. As a flautist, pianist and accordionist trained in the classical music tradition, I maintain a strong interest in how music can improve physical health and well-being.

Smiles

A little smile can be the beginning of a musical adventure. It can open a door to interact with a child patient and create beautiful sounds which will gently filter down hospital corridors. Today we knocked on the door of an isolated room, and sensing a rather curious and friendly little girl with a beaming smile, we started to gently play music. After a while, we picked out a glockenspiel and some shakers from the percussion box and showed her the sounds that could be produced. She happily took these instruments from us and began to take part in the music making. Her relatives were clearly delighted to see her enthusiastically and creatively join in, as were we. Beginning with a soothing guitar medley, the delicate sound of the ukulele and glockenspiel added a glistening touch. Underpinning this was the lively and spirited sound of the bodhrán, accompanied by melodious accordion interludes.

It is sometimes nice to be fortunate enough to be able to see there and then the immediate positive effects a musical interaction can have on parents and their children. In the afternoon, we all softly sang ‘Sunshine’ in 4-part harmony to another little girl cradled in her father’s arms. As we wandered off to the next ward we all heard the father continue to sooth his daughter singing the very same song – and of course that left all of the OPUS musicians with a big smile.

 

Musical Bonds

Creating music in a clinical setting forms relationships of two kinds: first, those which are created between the sounds and, secondly, those which are created amongst the participants. As professional musicians, we must use our musical intuition and skills in order to produce quality music aimed for a very particular situation (eg, a parent carrying a child on a hospital corridor, a dialysis ward with a large central open space, or even a child patient undergoing some form of treatment in an enclosed area). A heightened sensitivity and empathy towards listening and perceiving situations is crucial. Creating music in these situations involves very careful listening and communication between musicians; sometimes we are located in awkward areas of the ward and not necessarily in close proximity. An acute sensitivity to changes in volume, harmony, texture, rhythm, and melodic direction is paramount, especially amidst the hustle and bustle of a busy hospital ward. There is also the desire to create music that is appropriate for the situation and that can gently welcome patients, carers, and staff to participate (if they so wish). When this delightful moment happens, we forge a unique and special relationship with all the participants. One cannot predict what lasting effects these moments will achieve. If it provides a momentary sense of relief, relaxation, or positive distraction from the humdrum of the clinical setting – that can only be a good thing. If it provides a charming musical memory to talk about, or a sense of pride felt in contributing to a musical piece – that also, can only be a positive.

Nottingham Children’s Hospital Mentoring Programme

In November 2013, OPUS Music CIC, in partnership with Nottingham Music Hub, was delighted to deliver two days of training for eight musicians exploring the role of the musician in healthcare settings. These two days have been followed up by ten days of mentored practice for two musicians at Nottingham Children’s Hospital. Joe Danks and Dr Angela Kang were the musicians selected for the mentoring programme, supported by OPUS Musicians and trainers Nick Cutts, Richard Kensington and Sarah Matthews. This programme continues until the beginning of March when we will be reflecting on this training process, a new approach for OPUS and a new partnership with a local music service.

The following posts are Angela and Joe’s reflections on the training and mentoring programme so far…

dept education logo nottm music hub logo youth music full logo