Professional Documents
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[Research]
Abstract
Stroke is a leading cause of long-term disability. A stroke can damage areas of the brain
associated with communication, resulting in speech and language disorders. Such
disorders are frequently acquired impairments from left-hemispheric stroke. Music-based
treatments have been implemented, and researched in practice, for the past thirty years;
however, the number of published reports reviewing these treatments is limited. This
paper uses the four elements of the narrative synthesis framework to investigate,
scrutinise and synthesise music-based treatments used in the rehabilitation of patients
with speech and language disorders. A systematic review revealed that fifteen studies
meet the inclusion criteria set out. It was found that the music-based treatments utilised
included: Melodic Intonation Therapy (MIT), Modified Melodic Intonation Therapy (MMIT),
adapted forms of MIT, the Singing Intonation, Prosody, breathing (German: Atmung),
Rhythm and Improvisation (SIPARI) method and a variety of methods using singing and
songs. From a synthesis of the data, three themes emerged which were key elements of
the interventions; they were: (a) singing songs and vocal exercises, (b) stimulating the
right hemisphere and (c) use of speech prosody. These themes are discussed and
implications for newly-qualified practitioners are explored.
Keywords: left-hemispheric stroke; speech and language disorders; music therapy; music
and stroke; aphasia.
Introduction
Every year around 10,000 people in Ireland have a stroke, with approximately 2000
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resulting in death. It is estimated that 30,000 people in Ireland are living with disabilities
caused by a stroke or a series of strokes (Irish Heart Foundation, n.d., para. 1). The most
common are varying severities of left- and right-sided hemiparesis and acquired speech
and language disorders such as aphasia, apraxia of speech, and dysarthria.
Consequently, professional therapeutic services are continuously required in
rehabilitation programmes designed for stroke survivors. There is an ever-growing body
of literature investigating the use of music-based methods in rehabilitation following
stroke in the areas of speech and language disorders, physical rehabilitation, emotional
and social support, and memory loss. For many years, research has been undertaken to
examine the efficacy and validity of these treatments in the rehabilitation process.
However, the methods and interventions adopted need to be assessed in a transparent
manner and arranged systematically. This paper seeks to investigate, review and
synthesise the music-based treatments used to rehabilitate left-hemispheric stroke
survivors with speech and language disorders.
John attended a total of three with me. As a student, with limited experience working with
people with speech and language disorders, I had little prior knowledge of the potential
benefits which music-based treatments could offer him. However, basic patient
information gathered during the referral process informed me that he enjoyed singing
along to the radio but could not articulate the words of the songs. While adopting a client-
led approach, the music-therapy sessions usually involved song singing where I would
play a song on the guitar and sing, and John would vocalise along with me. He did not
have the ability to pronounce the lyrics but vocalised the melodies using the vowel
sounds a and ou, and also a mi sound. A particularly interesting moment in the
second session occurred when John spontaneously began to vocalise the melody of a
song without me accompanying him. He sang two verses of an Irish folk song; then he
stopped, smiled and nodded to me. I felt that this moment of spontaneity was especially
striking because he sang the melody in his own way and in such a manner that I was
able to accurately identify the song. Articulating this melody to an extent where it was
recognisable required rhythm, intonation, prosody, pitch, and oral muscle control.
Due to his injuries John had lost the ability to form a two-word intelligible phrase.
Nonetheless, in music-therapy sessions he demonstrated an ability to vocalise melodies
to an extent where the specific songs were clearly recognisable. However brief my time
with John, the experience left me feeling very curious with many questions. Most
importantly, I wanted to know how he was able to vocalise melodies which required
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various vocal and oral skills and abilities while simultaneously having a significantly
impaired ability to communicate using speech. I wanted to know what was happening
neurologically in the relationship between music and language, and between singing and
speaking. I wondered if a long-term music-based treatment could have benefitted his
rehabilitation. I considered how musical methods could be used when working with John,
and also I speculated if I, as a student, would have had the skills and time to implement
them.
Left-Hemispheric Stroke
Baker and Tamplin (2006) explained that a cerebral vascular accident or CVA occurs
when a part of the brain is deprived of blood flow and subsequently dies. Neurological
damage can occur as a result of two types of CVA. Ischaemic stroke, which is the most
frequently diagnosed type, occurs when there is a blockage in an artery supplying blood
to the brain (Safranek, 2011). Haemorrhagic stroke occurs when sudden high blood
pressure causes arteries within the brain to rupture (Wong, 2004). The resulting effects of
stroke vary by its type and location in the brain. Following a left- or right-sided CVA, there
will often be residual damage to one of the main hemispheres in the brain. Discussing
left-sided CVAs specifically, Baker and Tamplin (2006) and Safranek (2011) described
how it affects the right side of the body causing hemiplegia or hemiparesis and
sensorimotor difficulties such as poor balance, gait and decreased speed of movement.
Difficulties can also materialise in memory problems, as well as behavioural and
personality changes. In the context of the current study it is important to note that left-
sided CVAs can result in speech and language disorders including aphasia, dysarthria
and apraxia of speech.
There are several different types of aphasia which cause impairment ranging from mild to
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severe. These include fluent aphasia, non-fluent aphasia, anomic aphasia, global
aphasia and primary progressive aphasia. The literature sourced for the current synthesis
revealed that 96% of the left-hemispheric stroke survivors who participated in the studies
had non-fluent aphasia (see Appendix A and Appendix B); this is also known as Brocas
or expressive aphasia. It is characterised primarily by a deficiency in language
formulation and production (Hallowell & Chapey, 2008). Speech can be slow with long
pauses between words; the individual may have difficulty in naming objects and may
demonstrate poor sentence construction and disturbed prosody (Baker & Tamplin, 2006).
However, auditory and reading comprehension can remain intact.
Methodology
Narrative Synthesis
Narrative synthesis is a widely-used, systematic reviewing method (McDermott, Crellin,
Ridder & Orrell, 2013). Popay, Roberts, Sowden, Petticrew, Arai, Rodgers, Britten, Roen,
& Duffy, (2006) devised a narrative synthesis guide in order to make the approach more
systematic and to minimise bias. It defined narrative synthesis as an approach to
systematic reviews and the collection of findings that primarily relies on the use of words
and text in summarising and describing the findings. Findings can also be presented
using visual representations such as graphs, statistics, tabulations, conceptual maps, etc.
McDermott et al. (2013) demonstrated that the key to successful narrative synthesis is to
review what worked but also to investigate how and why an intervention might have
worked. It is suggested that this research method is particularly suited to music-therapy
literature (ibid.).
Narrative synthesis involves four stages: (a) theory development, (b) preliminary
synthesis of findings, (c) exploration of relationships between studies, and (d) assessing
the robustness of the synthesis. The current study proposes to utilise these four
interactive elements in order to investigate, scrutinise, and synthesise the existing music-
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based methods used to rehabilitate individuals with disorders of speech and language.
There is also a strong link between music and language in people with speech and
language impairments. Disorders such as aphasia occur because of damage to the areas
of the brain necessary for communication. However, Brust (1980; 2001) outlined that for
more than 200 years, it has been reported that patients who have severely-impaired
speech abilities retain the ability to produce well-articulated and accurate words when
singing (as cited in Wilson, Parsons, & Reutens, 2006).
methods to communicate their needs. Thus, in many ways, people with acquired speech
and language disorders communicate on the same level as an infant. They may have lost
several communication abilities and may also rely on non-verbal communication.
Therefore, with this evidence in mind, the capabilities of a person with a speech or
language disorder resulting from a stroke are, somewhat, comparable to the musical and
communication abilities of an infant.
Data Search
Search strategy.
For this synthesis, the literature search was greatly influenced by search methods utilised
by Woodward (2012). The current search used a step-wise approach that involved the
following elements: searching databases, scrolling through citations, deep journal
searching, and researching outside sources. A table was developed in order to organise
and guide the search strategy (see Table 1). Electronic searches were conducted
primarily on AMED, MEDLINE, PsycINFO, CINAHL, Cochrane Library, SAGE, Science
Direct, and Google Scholar. Relevant journals were identified and searched; these
included Journal of Music Therapy, Nordic Journal of Music Therapy, and Music and
Medicine. Three key subject areas formed the scope of the search: music, speech and
language disorders, and stroke. Within these areas, subcategories of keywords were
created to identify relevant studies. To ensure that all relevant areas were covered,
search terms were used in combination and these included the keywords within the
subcategories. When conducting the search, it was also necessary to develop a list of
inclusion and exclusion criteria (see below) which could be used to determine which
studies were relevant to this particular synthesis.
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Musical methods Dysarthria
Music interventions Apraxia
Speech disorder
Language disorder
Table 1. Knowledge categories and search terms
Inclusion criteria:
Exclusion criteria:
An issue that arose during the data search was the difficulty in sourcing relevant literature
pertaining to the key subject areas of this study. A search for music and stroke
identified an abundance of articles across the databases. Furthermore, specific searches
for music therapy, stroke and aphasia revealed over 100 studies across databases,
however, many were not relevant to this synthesis. When the combined keywords were
searched, and when the inclusion and exclusion criteria were subsequently applied, a
significant number of studies had to be excluded revealing a relatively small number of
applicable studies (see below). The difficulty in sourcing literature was probably due to
the very specific focus of the current synthesis.
Results
Narrative Synthesis Stage Two: Developing a Preliminary Synthesis
Description of search results and data.
The data search revealed over 20 relevant studies that were then scrutinised under the
inclusion and exclusion criteria. The participant information sections indicated that
several of these studies focused on right-hemispheric stroke patients and, therefore,
were excluded. Other studies were conducted prior to the year 2003 and were excluded
on this basis. Some of the studies did not focus on the rehabilitation of individuals with
speech and language disorders, but were instead concerned with the link between
emotional difficulties and communication impairment following stroke; these studies were
also excluded. A total of 15 studies met the inclusion criteria. Fourteen of these were
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sourced from peer-reviewed journals and one study formed a chapter in a book.
Following the narrative synthesis approach, the second step of the synthesis process
involved the creation of an extensive and in-depth table in which all 15 studies were
synthesised (see Appendix B). The purpose of this table was to provide more
comprehensive details of each study than the literature matrix (Appendix A) had
produced, and to begin to identify specific information, characteristics and patterns
across the studies which were deemed potentially important to the current study.
Study methodologies.
As stated above, in total there were 15 studies included in the synthesis. Of these 15, 12
studies utilised quantitative research methods while the other three utilised qualitative
descriptions and evaluations of interventions and outcomes. Further breaking down the
methodologies used in each of the 15 studies, we see that five studies used a
randomised controlled trial (RCT) approach (Conklyn et al., 2012; Jungblut, 2005;
Jungblut, Suchanek, & Gerhard, 2009; Lim, Kim, Lee, Yoo, Hwang, Kim, & Kim, 2012;
Straube, Schulz, Geipel, Mentzel, & Miltner, 2008). Three of the RCTs involved between
17 and 30 participants, while of the remaining two RCTs one involved five participants
and the other only two. Of the 10 studies that did not use RCTs, four studies used a
multiple-participant case study design each involving between six and eight participants
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(Kim & Tomaino, 2008; Racette, Bard, & Peretz, 2006; Schlaug, Marchina, & Norton,
2009; Vines, Norton, & Schlaug, 2011). The remaining six studies were conducted as
single-participant case studies.
Musical interventions.
The initial and most basic question that this research sought to answer involved
identifying the musical interventions utilised in the 15 studies. It was found that a variety
of musical interventions were utilised and explored. Of the 15 studies:
Of the 99 diagnosed with left-hemispheric stroke, 96 of those were diagnosed with non-
fluent Brocas-type aphasia. Three participants were diagnosed with global aphasia. The
99 left-hemispheric stroke participants also displayed signs of other speech and language
disorders. Six participants had non-fluent aphasia, dysarthria and apraxia; four
participants had aphasia and apraxia of speech; and two participants had non-fluent
aphasia and dysarthria
Discussion
Narrative Synthesis Stage Three: Exploring the Relationship Among
Studies
Purpose of this stage.
When conducting stage three of the narrative synthesis the relationships within, and
among, the 15 studies were explored; the synthesis table (Appendix B) proved a useful
aid in this process. This stage also considered the overall purpose of the current study.
Based on my position, at that particular time in my career, it was acknowledged that the
information collected should have relevant implications for newly-qualified practitioners.
Therefore, during detailed examinations of the 15 studies the need to extract clear,
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It was also necessary to explore both the treatments and the studies in more detail in
order to determine how and why the treatments did, or did not, produce an effect. In
addition, during this process it was necessary to identify themes which revealed
information of particular relevance to newly-trained music therapists. This information
was obtained by exploring and identifying patterns and common factors among the
music-based treatments and the studies.
A further four studies were similar to one another in that they each explored two
interventions or approaches simultaneously. Within these four studies, Racette, Bard, &
Peretz, (2006) and Straube et al. (2008) investigated singing and speaking with
participants. They aimed to identify the potentials of singing and to determine if the
effects of singing are solely responsible for improving the speech of aphasic patients.
Using an RCT design, Lim et al. (2012) investigated the effects of neurologic music
therapy (NMT) and speech language therapy. The NMT consisted of MIT and therapeutic
singing. Similarly, Schlaug et al. (2008) examined two interventions using participants
who were randomly assigned to attend MIT sessions and speech-repetition therapy.
(Hartley et al., 2010; Jungblut, 2005; Jungblut et al., 2009; Kim and Tomaino, 2008; Lim
et al., 2012; Racette et al., 2006; Straube et al., 2008; Tomaino, 2010). When singing or
exploring songs, all eight studies used songs that were familiar to the participants or they
used prelearned songs. Singing familiar songs which forms a key component of the
SIPARI method was central to the treatment interventions used by Jungblut (2005) and
Jungblut et al. (2009). The six other studies also explored familiar song-singing as a
treatment protocol; in addition, they looked at the efficacy of singing and the relationship
between singing and speaking. Racette et al. (2006) and Straube et al. (2008) found that
speech improvements and superior performance during singing can not be explained
solely by the effect of singing. However, Racette et al. (2006) proposed that singing along
to an auditory model has greater potential to improve intelligibility than speaking alone.
The single participant in the study undertaken by Straube et al. (2008) was able to sing
phrases more accurately than speak the same phrases. It was suggested that this was
not due to the effect of singing but possibly due to a memory-based mechanism linking
melody to words.
forms of MIT engaged the right hemisphere by tapping the participants left hand or by
the participant moving their left hand rhythmically or using their left hand to tap on a
drum. The two studies exploring the SIPARI method engaged the right hemisphere using
rhythmic exercises and improvisations involving instruments and the voice (Jungblut,
2005; Jungblut et al., 2009). Kim and Tomaino (2008) also used rhythmic speech cueing
to stimulate the right hemisphere. Participants were guided in clapping or tapping on a
drum along with the speech rhythm of the target phrase which was being exercised
vocally. In contrast, the study undertaken by Hough (2010) which investigated an
adapted form of MIT did not use the left-hand tapping method. Houghs results were in
disagreement with the need for left-hand tapping; the participant in his study showed
significant improvements in standardised tests without engaging in left-hand tapping.
Hough therefore suggested that it is not a critical component of MIT. Despite this
conclusion, further research is necessary in order to establish the validity of these
findings.
The practice of stimulating the right hemisphere was common throughout the literature.
Each musical intervention adopts a slightly different approach but essentially they all
share a common aim, i.e. to increase right-hemispheric activity in order to augment
speech production.
practitioner. This table would have proved beneficial to my own experience as a student
when working with post stroke aphasic patients.
Themes/
Essential Elements Benefits for Client
Interventions
Songs familiar to Uses existing vocal abilities to
Singing and client modified to improve speech production
Vocal clients ability Encourages vocal utterance
Exercises Breathing and processes
vocal exercises
Limitations
Narrative Synthesis Stage Four: Assessing the Robustness of the
Synthesis
As far as I am aware, this is the first narrative synthesis review that looks at music-based
treatments used to rehabilitate left-hemispheric stroke patients displaying disorders of
speech and language. It was intended from the outset that the review would be
transparent; it adopted a defined search strategy and clearly specified inclusion and
exclusion criteria. The process has aimed to be systematic in the analysis and
exploration of the resulting data. However, it is acknowledged that certain factors may
draw the robustness of the synthesis and the strength of its findings into question.
The data analysis found that in 13 studies there were significant improvements reported
in the outcomes following the various treatments. Due to a number of factors, the
potential for generalisation of these results within this synthesis must be considered. It
must be noted that the number of participants involved in each of the 15 studies was
small. The RCT by Conklyn et al. (2012), with 30 participants overall in both the control
and treatment groups, involved the largest number of participants across all of the
studies. Of the multiple-participant case studies, Racette et al. (2006) with eight
participants had the most participants. All other studies were single-participant case
studies.
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It must also be noted that the number of sessions, as well as the duration of treatment,
varied greatly across the 15 studies. For example, Conklyn et al. (2012) conducted just a
single session investigating the effects of MMIT. In comparison, Schlaug et al. (2008)
carried out 75 MIT sessions. Few studies were carried out over similar time frames.
Hartley et al. (2010) reported on 9 years of music-therapy treatment with a single
participant; their research provided qualitative analysis of improved linguistic skills.
Jungblut et al. (2009), who also reported significant improvements, conducted 3 years of
treatment that included 360 SIPARI sessions with a single participant. On the other hand,
several studies, while also reporting improved linguistic skills, conducted their various
treatments over a relatively short period of time comprising a number of weeks (Hough,
2010; Jungblut, 2005; Kim and Tomaino, 2008; Lim et al., 2012).
Three studies investigated the potentials of unique treatment protocols. Hough (2010)
and Zipse et al. (2012) proposed adapted forms of MIT that revealed improvements in
phrase production for each of their single participants. Kim and Tomaino (2008) also
investigated the efficacy of an innovative treatment protocol and provided qualitative
descriptions of guidelines for practitioners. Although the three studies reported improved
outcomes, each study represents early research into newly-developed musical
interventions. These interventions, therefore, require further research before their efficacy
can be established and included in future reviews of this nature.
Bearing these points in mind, the robustness of this review is, somewhat, weakened.
Thus, it proved difficult to consolidate the three themes (discussed above) which
appeared relevant to newly-qualified practitioners because these themes had emerged
from evidence which was, at times, tentative. While I proposed that these themes are
essential elements in music-based work with patients suffering from speech and
language disorders, due to a lack of consistency in approaches, I cannot suggest a
duration or frequency of treatment. It is anticipated that this uncertainty may be damaging
to the compilation of music-therapy programmes by newly-qualified practitioners because
the amount of treatment required to achieve positive results cannot be estimated.
This synthesis was also subjected to my own biases because I had previous experience
working with a patient with aphasia. Prior to conducting this research, my preconceived
aspirations anticipated confirmation from the literature that these musical treatments
produced positive effects. Therefore, it was difficult to maintain a neutral perspective
when analysing the outcomes of the studies. For example, when considering the
conclusions made by Racette et al. (2006) and Straube et al. (2008) which argued that
music-based interventions were not responsible for improvements in speech, these
findings were, somewhat, rejected in favour of the evidence provided in the majority of
studies which directly linked improvements in speech with music-based interventions.
Conclusions
The current paper provides a narrative synthesis review of music-based treatments used
to rehabilitate individuals with disorders of speech and language following left-
hemispheric stroke. Although there is a wealth of literature pertaining to the relationship
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between music and stroke, a systematic search for recent literature specifically focusing
on speech and language disorders revealed only 15 studies; this indicates that up-to-date
literature in this area is limited. This review is in agreement with a similar review
undertaken by Hurkmans et al. (2012) that found that all 15 studies reported positive
treatment outcomes.
Appendices
Appendix A: Literature Matrix (pdf)
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