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Tile authors wish to thank the KwanakSenior Center in Seoul, Korea for its gen-
erous support of this research.
82 Journal of Music Therapy
ond major causes of death in Korea, and stroke was the most com-
m o n form of CVA (Korea National Statistical Office, 2002). Ac-
cording to a related study, Korean clinicians have found that of the
entire stroke patients, only 9% recovered without any residual
symptoms, 18% died several days after the stroke attack, and 73%
demonstrated hemiplegia, speech disorders, sensory disorders,
a n d / o r physical dysfunctions in hands and gait (Kiln & Hahn,
Rationale
Having c o n d u c t e d a weekly music therapy sessions with stroke
patients at the center for a few ),ears, the researchers felt a need for
a research project in developing a session protocol with the popu-
lation. Thus, they met with a physical therapist employed at the
VoL XLII, No. 1, Spring 2005 85
FIGURE 1.
Exercise movements, counts, and repetitions.
Music Selection
T h r e e kinds o f music were used for the study: (a) song, (b)
k a r a o k e a c c o m p a n i m e n t , and (c) n o music (silence). S o n g was op-
erationally d e f i n e d as music with lyrics, melody, a n d p o p instru-
m e n t a l acconapaniment. T h e operational definition o f karaoke ac-
c o m p a n i m e n t was nmsic with p o p i n s t r u m e n t a l a c c o l n p a n i m e n t
b u t with n o lyrics, n o melody, a n d singer's voices.
Given that the lnajority o f the subjects were in their 60s, p o p u l a r
K o r e a n music f r o m their y o u n g adult years were c o n s i d e r e d most
a p p r o p r i a t e in selecting specific music styles (Clair, 1996 ) in the
b e g i n n i n g o f the music-selecting process. However, in the course o f
the pilot sessions, it b e c a m e obvious that p r e f e r r e d music by the
subjects t e n d e d to c e n t e r a r o u n d the era o f 1980s a n d later. This
u n e x p e c t e d p r e f e r e n c e s e e m e d to be consistent with the re-
searchers' observations f r o m weekly music t h e r a p y sessions held at
the c e n t e r for the past few years. T h e r e could be several reasons for
this, o n e o f w h i c h is the fact that for the subjects, 1960s were the
time w h e n the), had suffered immensely f r o m the repercussions o f
Korean War a n d i m m e r s e d themselves in the nation-wide recon-
s u u c t i o n project. D u e to power o f music that can bring back m e m o -
ties a n d associations with certain life events, music f r o m this era
could have b e e n painflfl and disconcerting rather than enjoyable for
the subjects. O n the conu-ary 1980s were the period when the econ-
o m y o f the n a t i o n showed t r e m e n d o u s growth, a n d life quality o f
Vol. XLII, No. 1, Spring 2005 87
Song
Titles (Rough translation) Styles Artists
1. Beat Four Adult pop Song, Dae-kwan
2. Flower Song Traditional Kim, Young-im
3. Guys & Gals These Days Adult pop Hyn, Suk
4. Puppy Love Adult pop Doe,-Mee
5. The Guy In a YellowShirt Adult pop Han, Myong-snk
6. Lady Samba Dance pop Seol, Woon-doe
7. Love In Mallipoe Aduh pop Park, Kyong-won
FIGURE 2.
Titles, styles, and artists of the 16 selected inusic pieces.
the m a j o r i t y o f K o r e a n s b e g a n to i m p r o v e . T h e r e f o r e , it is p o s s i b l e
that a r o u n d this time, the subjects b e c a m e m o r e f i n a n c i a l l y secure,
i n v e s t i n g m o r e t i m e a n d m o n e y into p u r s u i n g t h e i r l e i s u r e activi-
ties i n c l u d i n g music. In a d d i t i o n , K o r e a n t r a d i t i o n a l s o n g s with
w e s t e r n style a r r a n g e m e n t a n d m o r e r e c e n t p o p p i e c e s w e r e also
i n c l u d e d in t h e r e p e r t o i r e s i n c e t h e y w e r e p o p u l a r with o r fre-
q u e n t l y u s e d for t h e subjects d u r i n g t h e i r weekly music sessions.
F o r specific p i e c e s e l e c t i o n , f o u r c r i t e r i a w e r e e s t a b l i s h e d f o r
b o t h s o n g a n d k a r a o k e a c c o m p a n i m e n t c o n d i t i o n s : (a) d u p l e me-
ter; (b) m o d e r a t e t e m p o (M.M. J = 9 0 - 1 0 0 ) ; (c) c l e a r beat; a n d
(d) overall a p p r o p r i a t e n e s s f o r a n d r e c o g n i z a b i l i t y by e l d e r l y Ko-
r e a n p o p u l a t i o n . Twenty-five s o n g s a n d 25 k a r a o k e a c c o m p a n i -
m e n t s w e r e c h o s e n a c c o r d i n g to t h e c r i t e r i a . T h e n , e i g h t p i e c e s
were r a n d o m l y s e l e c t e d for e a c h category, r e s u l t i n g in a total o f 16
m u s i c p i e c e s to be u s e d in t h e study. Two r a n d o m l y c h o s e n songs
f r o m t h e e i g h t were also i n c l u d e d in t h e k a r a o k e a c c o m p a n i m e n t
g r o u p r e s u l t i n g in an o v e r l a p (see F i g u r e 2).
88 Journal of Music Therapy
0 1 2 3 4 5 6 7 8 9 10
Least Most
Painfid painful
~IC, U RE 3'
A rating scale for subjects' perceived pain.
Design
Due to the small n u m b e r o f subjects, all 10 of t h e m served as
t h e i r own controls. I n d e p e n d e n t variables were: (a) song, (b)
k a r a o k e a c c o m p a n i m e n t , a n d (c) no music (silence). Song was
o p e r a t i o n a l l y d e f i n e d as music with lyrics, melody, a n d p o p in-
s t r u m e n t a l accompaniment. T h e operational definition of karaoke
a c c o m p a n i m e n t was music with p o p instrumental a c c o m p a n i m e n t
but with no lyrics, melody, and singers' voices. A d e p e n d e n t vari-
able was the subjects' perceived pain d u r i n g the u p p e r extremity
exercises, rated on a scale.
A rating tool with 11 scales was designed so that the subjects could
m a r k their perceived pain sensation after each of the 3-minute ex-
ercise trials. On the scale, zero indicated 'the least painfid,' and 10
indicated 'the most painful' (see Figure 3).
Procedure
T h e study was c o n d u c t e d in an activity r o o m at the center, the
s a m e time in the a f t e r n o o n , over an 8-week period. Each 20-
minute session was structured in the following order: (a) the sub-
jects sat on chairs in a senti circle, facing researchers; (b) the sub-
jects a n d r e s e a r c h e r s had a brief, casual conversation to set the
m o o d a n d build trust; (c) the subjects participated in the u p p e r
extremity exercise for a p p r o x i m a t e l y 3 minutes, with the lead re-
s e a r c h e r d e m o n s t r a t i n g m o v e m e n t s in f r o n t and the assistant
researcher c o u n t i n g out loud and video-taping the session; (d) the
subjects were instructed on how to mark, and they rated their per-
Vol. XLII, No. 1, Spring 2005 89
Orders of conditions 1 2 3 4 5 6 7 8
1st exercise trial N S K N S S N S
2rid exercise trial K N S K N K S N
3rd exercise trial S K N S K N K K
S: Song. K: Karaoke Accolnpaniment. N: No music (silence).
Results
In o r d e r to c o m p a r e the effects of three music conditions on
perceived pain of the subjects, pain ratings of the participants were
analyzed using the General Linear Model (GLM) Repeated Mea-
sures Analysis of Variance. Due to the small n u m b e r of subjects and
the research design employed for the stud),, the statistical test was
d e e m e d most appropriate. It was conducted at a .05 level of signif-
icance. Maalysis revealed that there were no significant differences
in pain ratings across three music conditions, that is, song, karaoke
a c c o m p a n i m e n t , and no music (silence), F(2, 7) = 0.23, p = .05 (see
Table 1).
90 Journal of Music Therapy
TABLE 1
GI_J~IRe49eatedMeasures Analysis of Variance
df Type I11KS MS Fvalue
References
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Clail; A. A. (1996). Therapeuticuses of music with older adults. Baltimore, MD: Health
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Cofrancesco, E. M. (1985). The effect of music therapy on hand grasp strength and
functional task performance in stroke patients. Journal of Music Therapy. 22,
129-145.