None listed
Conditions
Brief summary
Piano training using creative improvisation provides opportunities for autonomy-supportive learning where participants can self-direct and express themselves through their musical play. Piano training using traditional methods often requires precise replication of music notation. This study aims to investigate the cognitive and wellbeing benefits experienced by older adults who participate in piano improvisation training compared to those who engage in traditional piano instruction, with particular attention to individuals who report memory concerns, formally referred to as subjective cognitive decline.
Interventions
Arm 1: Piano training using creative improvisation as the method. The program focused on creative music exploration on the piano drawn from music therapy techniques (Wigram, 2007). Simple tonal frameworks were taught (pentatonic, modal, blues), call-and-response patterns facilitated, thematic prompts offered by the facilitator and participant improvisations supported by backing tracks generated and shared from the iPad app iRealpro. Emphasis was placed on two hand, bi-manual piano play, partici
Arm 1: Piano training using creative improvisation as the method. The program focused on creative music exploration on the piano drawn from music therapy techniques (Wigram, 2007). Simple tonal frameworks were taught (pentatonic, modal, blues), call-and-response patterns facilitated, thematic prompts offered by the facilitator and participant improvisations supported by backing tracks generated and shared from the iPad app iRealpro. Emphasis was placed on two hand, bi-manual piano play, participant spontaneity, emotional expression, and participants generating original musical ideas on the piano. Piano training takes place over 8 weeks, 2 x 30 min training sessions per week. All training takes place online, via Zoom. Session are held in groups of 9 participants per group. Facilitation is by a Registered Music Therapist with 8 years clinical practice working with adults. Adherence to the program design is facilitated by the issue of workbook content to provide skills practice of improvisational techniques. The workbook is issued week to week with scaffolded content and was specifically designed for this study.
Sponsors
MARCS Institute for Brain, Behaviour & Development, Western Sydney University
Study design
Allocation
Randomised controlled trial
Intervention model
Parallel
Primary purpose
Prevention
Masking
Blinded (masking used) (Subject)
Eligibility
Sex/Gender
All
Age
60 Years to No maximum
Healthy volunteers
Yes
Inclusion criteria
* older adults * no music training in the last 2 years * English proficiency * A report of subjective cognitive decline identified by self-reported concerns of worsening memory, based on validated questions from previous research (Cave et al., 2019). Participants had to answer yes to 1 or more of these questions 1. do you feel your memory and thinking is getting worse? 2. Do you feel your memory and thinking has become worse over the past 2-3 years? 3. Are you concerned about your decline in memory and thinking?
Exclusion criteria
* Scoring less than 23 on the Montreal Cognitive Assessment (MoCA) (46,47), an indication of Mild Cognitive Impairment. Additional exclusions included * hearing/vision loss * a diagnosis of dementia or major psychiatric/neurological conditions. * currently engaged in music training or other research to enhance cognition
Outcome results
None listed