A-Z List


Coma

Annotated Journals


Rasar, L. A. (1999). Coma Lecture. (video).
Call #: (UWEC: Lee Anna’s office).

This resource includes explanations of both the Rancho Los Amigos and the Glasgow Coma Scale. It also includes special considerations when working with the two different scales, considerations when assessing, and influences on recovery, which include the patient’s medical status and the patient’s environment. It describes a sample stimulation program using music to arouse coma patients and provides examples of other stimulation programs used in the past. The use of music in rehabilitation and the goals of music therapy are described. Also included are the reasons for using music as a stimulus, what kind of music and how it should be presented, and what kinds of non-musical stimuli you would want to include in the rehabilitation program. This video also stresses the importance of conversation with the patient and the pairing of touch with the music during therapy, and family involvement. It includes charting examples, examples of responses, examples of musical stimuli, and examples for non-musical stimuli. Recent studies of the use of music therapy with coma patients are mentioned.
Music therapy intervention for coma patients.
Call #: UWEC: MUS/TH/IN/F (reserve).

This resource includes definitions under the global term coma, specific music therapy techniques to use with coma patients, and a description of the music therapy treatment process as well as of the therapeutic role of music. Information concerning the music therapist on the treatment team, the benefits of music therapy for others, the importance of family involvement, and an example of a music therapy assessment is presented. An example of a data chart for a session and a list of musical instruments and techniques are included.
Rasar, L. A. (1999). Coma stimulation program.
Call #: UWEC: COM/ST/PR (reserve).

This resource includes a schedule of the program and a guideline for the evaluation to be completed by therapists, which includes a form to use when determining baseline. A sample outline for the patient’s daily schedule also includes a section for added concerns and a parental treatment protocol. A sample questionnaire for the family to complete helps determine the patient’s musical history and interests. A list of items for the family to bring to the hospital is recommended. An outline for determining the present status of the patient is included.
Rasar, L. A. (1999). Music and coma patients.
Call #: UWEC: MUS/AN/CO/P (reserve).

This resource includes a list of descriptive responses, a list of musical stimuli, descriptions of therapeutic roles of music, ideas for family involvement, suggestions of auditory stimuli, suggestions of non-musical stimuli, considerations for the assessment of coma patients, and research precautions.


Diskind, F. (1985). Coma and head trauma: Handbook for speech rehabilitation. Tucson, AZ: Communication Skill Builders.
Call #: RC425.D57 1985 (IMC professional)

This resource includes a description of each of the eight levels of cognitive functioning in coma and post-coma patients. Different therapeutic approaches for each of the eight stages of functioning levels are described. This resource can be helpful when looking for different types of therapeutic approaches for each of the eight stages of coma.
Boyle, M.E., & Greer, R. D. (1983). Operant procedures and the comatose patient. Journal of Applied Behavior Analysis. 16, 1. 3-12.
Call #: (bound journal)

This resource includes definitions of coma, acute coma, and vegetative state and references the Glasgow Coma Scale and the Munich Coma Scale. Music in this study was used as a way to reinforce verbal commands. Case studies of three patients who were all comatose are described. The article examines their medical states, response definitions, data collection procedures, research design and the need to consider reliability, contingent music, results, discussion, and future research suggestions.


Jones, C. P. (1990). Spark of life. Geriatric Nursing. 11, 4. 194-196.
Call #: UWEC: (microfilm).

This article is about a story of a man, Bill, who was diagnosed as being in a persistent vegetative state. A nurse became interested in his case and began to use music to produce a stimulus. Bill moved his legs and head to the country music played through earphones. Country music was chosen because it was his favorite style of music. His wife was able to communicate with him through the music. The songs she chose for the tape she made for him spoke of the pain of losing someone you love and a promise to never forget and never stop loving, even though apart. The article stresses the need to try everything because every human being deserves the highest quality of life possible.
Aldridge, D. (1996) Music therapy research and practice in medicine.. Pennsylvania: Jessica Kingsley Publishers, London & Bristol. 45-51.
Call #: ML 3920.A33 1996 (main stacks).

This excerpt describes work with five patients between the ages of 15 and 40 with severe coma from different accidents involving brain damage. The music therapist would have contact with each of the patients for 8-12 minutes. The Music Therapist would improvise his/her singing based upon the tempo of the patient’s pulse and breathing pattern. Reactions to the therapy are described scientifically. Periodicity is discussed.
Plum, F., & Posner, J. B. (1972). Diagnosis of stupor and coma. Philadelphia: F.A. Davis Company. 4-8.
Call #: RB 150.C6 P55 1972 (main stacks).

This book has served as a workhorse medical text about coma patients. It contains many definitions including clouding of consciousness, confused state, delirium, stupor, coma, acute global aphasia, hypersomnia, akinetic mutism, apallic state, persistent or chronic vegetative state, and locked-in syndrome. It also contains clinical guides to use for diagnosis. This book could be helpful when looking for a specific definition.
Ruud, E. (1980). Music therapy and its relationship to current treatment theories. Missouri: MMB Music. St. Louis.
Call #: ML 3920.R94 1980 (main stacks)

This resource includes references to music used as a reinforcer, music used as a stimulus, the relationship between music and emotions, the language of music, and the influence of music upon man.
Taylor, D. B. (1997). Biomedical foundations of music therapy. Missouri: MMB Music. St. Louis. 38-9.
Call #: ML 3920.T31 1997 (reserve).

This text references different coma scales and causes of coma and gives an example about music aiding a coma patient in recovery. It also includes an explanation of what is occurring on a neurological level in the comatose nervous system. "The auditory pathway, preferably carrying musical stimuli familiar to the patient, therefore becomes the primary means of achieving interhemispheric cortical arousal in the coma patient".
Aldridge, D; Gustoff D; & Hanich H. J. (1990). Where am I? Music therapy applied to coma patients. Journal of the Royal Society of Medicine. 83, 6. 345-346. (editorial).
Call #: (?).

This article stresses the importance of music therapy for both the comatose patient and the staff. It describes a study with five patients ages 15-40 with severe coma. They all obtained brain damage resulting from different accidents. Each contact lasted about 8-12 minutes. The therapist improvised her wordless singing based on the tempo of the patient’s pulse. The reactions included a change in breathing, fine motor movements, grabbing movements of the hand and turning of the head. The heart rate went down and then up and sustained that level.
Jones R., Hux, K., Morton-Anderson, K. A., & Knepper, L. (1994). Auditory stimulation effect on a comatose survivor of traumatic brain injury. Archives of Physical Medicine and Rehabilitation. 75, 2. 164-167.
Call #: (?).

This case study examined whether a comatose patient responded differently to voices of family members and friends, classical music, popular music, and nature sounds. It also attempted to determine what physiological measures and behavioral observations best captured changes in responsiveness. It describes different approaches to coma stimulation, methods, results, discussion, and suggestions for future research. Also included are descriptions of a subject, instrumentation, stimulus materials, procedure, analysis, and behavioral observations.
Interview of John Roth a recovered coma patient.
Call #: 5208 York Ave So. Minneapolis. MN 55410.

Molly Bjorngjeld conducted an interview with John who had been in an induced coma for three months. He was very adamant when he said that music played a vital role in his recovery. His memory of his whole experience was all strung together in a series of "strange dreams". John’s favorite music was always played on the CD player, which was close to his bed. John also had friends who would come play live music for him on the accordion and guitar. John can remember exactly what songs they played for him and what dreams he had when he heard the music. When his friend played French songs on the accordion, John dreamed of Paris, looking up at Paris skies and the Eiffel tower. A Spanish song played on the accordion brought John to Mexico. He dreamed that he was tied up to a chicken wagon, and every time the tempo of the music got faster, the chickens would peck at his head. This experience was painful for John because he couldn’t tell the accordion player to stop. Most of the music played for John was old gypsy music from England and Paris, Mulish gypsy music from Colombia, and French accordion. The music played was his favorite and was very soothing to John. John’s vital signs were also affected when music was played for him. His oxygen level increased, his heartbeat decreased, his blood pressure was affected, etc. John stressed that hearing is the last thing to go, so he emphasizes the need to talk to coma patients and touch them. For more information, write John at the address listed above.

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