Exploring the role and impact of group songwriting with multiple stakeholders in recovery-oriented mental health services

ABSTRACT

Introduction

At the heart of successful operational transformation to recovery-oriented mental health services is the establishment of meaningful, respectful and equitable relationships between multiple “stakeholders” including service users, providers and carers. Group songwriting has a possible role to play in fostering such relationships as it offers opportunities to practice core life skills, adopt new roles, and, encourages respect for the perspectives of others.

Method

This study explored the potential role and impact of group songwriting in recovery-oriented mental health services. A total of eight service users and one staff member took part in three song-writing focus groups led by a qualified music therapist. Afterwards, semi-structured individual interviews were carried out to explore participants’ personal experiences of focus group participation. Interview transcripts were analysed using Thematic Content Analysis.

Results

Three original songs were composed in three focus groups. The lyrics reflected themes including (a) mental health service growth, (b) empowerment and freedom during music engagement and (c) empathy for others. Analysis of nine interviews revealed four themes including: “Group songwriting breaks down barriers in ways that help to promote equality,” “Group songwriting offered new perspectives,” “Group songwriting can expose perceived vulnerabilities” and, “Group songwriting may be approached with knowledge of music’s capacity to promote well-being.”

Discussion

Findings suggest that group songwriting offers stakeholders a meaningful, reciprocal and equitable space that can foster the concept of co-production that is foundational to effective recovery-oriented working in mental health.

KEYWORDS:

• Songwriting
• mental health recovery
• co-production
• arts-based research

Acknowledgments

We wish to thank each of the nine service users and staff of St. Patrick’s University Hospital (Dublin) who participated in this research. Thanks are also due to Mary O’Hora (Administrator of SUAS Consumer Council), Brendan Ruddy (Service User Representative of SUAS Consumer Council), Edel Fortune (Programme Manager) and Adam Kavanagh (Nurse Practice Development Co-ordinator) for their support of this project. Hearty thanks also to Stephen Sandford (Lead for Allied Health Professionals, East London NHS Foundation Trust) for his inspiring words and encouragement along the way.

Disclosure statement

No potential conflict of interest was reported by the authors.

Additional information

Funding

No funding was received for this study.

Notes on contributors

Tríona McCaffrey

Tríona McCaffrey is lecturer on the MA Music Therapy Programme at the Irish World Academy, University of Limerick, Ireland. Twitter: @McCaffreyTriona

Paula Higgins

Paula Higgins is a senior music therapist at Highfield Healthcare and former Twilight Programme Coordinator at St. Patricks Mental Health Services, Dublin.

Clara Monahan

Clara Monahan is a music therapist who practices in disability services and also Age Related services at Tallaght University Hospital, Dublin. Twitter: @clararosemusic

Sinéad Moloney

Sinéad Moloney, MA DT, Dip Clinical Supervision, Dip Playback Leadership. Sinead Moloney is a creative psychotherapist at Novas, Dublin and former Arts and Health Curator, Creative Arts Therapist at St. Patricks Mental Health Services, Dublin.

Siobhán Nelligan

Siobhán Nelligan is a music therapist who also a as research assistant at the Irish Word Academy of Music and Dance, University of Limerick, Ireland.

Aoife Clancy

Aoife Clancy is an assistance psychologist who also is also a research assistant at the Irish World Academy of Music and Dance, University of Limerick, Ireland.

Pui Sze Cheung

Pui Sze Cheung is a music therapist and a PhD candidate at the Irish World Academy of Music and Dance, University of Limerick, Ireland. Twitter: @CheungPuiSze