- 156 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
Music Therapy
About This Book
`This book is a detailed introduction to music therapy, and should be of particular interest to intending students of the subject and those wishing to pursue a career within the profession. It should be of considerable use to all with a general interest in the subject as well those making a career on music therapy? - The Organ
`I found this a useful book in terms of its clarity and carefully thought out structure. It is a rich source of information and of ideas which are extremely important for the potential music therapy trainee to think about; it also makes valuable reading for more experienced therapists, bringing our minds back to some central questions about the nature of our workâŚ. Whatever stage you may be at in your life as a music therapist, it will refresh your mind and your practice? - Eleanor Richards, Nordic Journal of Music Therapy
From the Foreword:
`Rachel Darnley-Smith and Helen M Patey have managed so well to tell their story of music therapy offering the framework of theory, training and professional practice, and the complimentary value of Analytical Music Therapy and Creative Music Therapy within improvization. The authors devote a whole chapter to promoting a wider understanding of improvisation, describing its value as a form of play, free association, with more or less structure depending on the form of intervention and the client?s needs. There is really a valuable resource of meaningful and relevant examples from their own clinical work. These examples clearly validate and illustrate the seminal theoretical concept of the first great pioneer of music therapy in the United Kingdom, Juliette Alvin, who taught us that music is a creation of people, and therefore we can see people in their music? - Professor Tony Wigram
Music Therapy is an introduction to contemporary training and practice. Written in a clear, jargon-free style, the book provides a lively source of information and ideas for all who are new to music therapy.
Written by highly experienced practitioners, the book examines improvization, the principal method for music therapy, and points to the underlying assumptions about music, which shape this way of working. Two of the main music therapy approaches - Analytic Music Therapy and Nordoff- Robbins Music Therapy - are also outlined.
Drawing on their own experience, the authors examine a range of clinical situations and give examples of working with children and adults with a range of needs, including autism, learning disabilities and mental health problems. They highlight the many issues which arise from day-to-day practice and explore other aspects of professional life, such as personal therapy and supervision.
For anyone training or thinking of training to be a music therapist, this book provides an ideal place to start. As a guide to contemporary music therapy, it also has much to offer those already in practice.
Frequently asked questions
Information
PART I
Getting Started
1
IN THE BEGINNING
What is Music Therapy?
- the use of music for its inherent restorative or healing qualities; and
- the use of music as a means of interaction and self-expression within a therapeutic relationship.
The Use of Music for its Inherent Restorative or Healing Qualities
The vibration of sounds or single tones has been used âin past civilisations and in different cultures ⌠as a means of treating physical disabilities and pain ⌠and psychosomatic disordersâ (Skille and Wigram 1995: 23â4). A modern version of this treatment, which makes use of the physiological effects of musical vibrations upon the body, has been developed, particularly in Scandinavia and Britain, since the 1960s. It was known in Norway initially as the âmusic bathâ and more recently as vibroacoustic therapy. Skille and Wigram write that:
The process of vibroacoustic therapy involves lying a client on the bed so that the sound is being transferred by air directly to the body of the client. (1995: 25)
In the United States methods of music therapy have been developed where recorded pieces of music are used in the relief of pain and the reduction of pain, anxiety or stress, so that patients require fewer drugs (Standley, 1995: 3â22). One procedure involves the patient listening to their chosen music on high-quality equipment, during or immediately before medical treatment. Wherever possible the patient retains control over the volume and the stopping and starting of the music. This type of music therapy takes place within a variety of medical settings, including surgery where it is used âpre-operatively to reduce anxiety and reduce the amount of anaesthesia requiredâ (Standley, 1995: 12). Clients include those on kidney dialysis, where music is used to reduce discomfort and serve as a distraction, and during childbirth. Other clients in Standleyâs survey of passive music listening include those suffering from cancer, where music is used in the reduction of pain and to enhance the analgesic effects of medication. Passive music listening is also included in the treatment of premature or sick infants where it is used to promote weight gain and to reduce the length of hospitalisation (Standley, 1995: 12).
The Use of Music as a Means of Interaction and Self-expression Within a Therapeutic Relationship
Community Music Therapy is a psychosocial intervention, which aims to provide treatment within the community where the clients are living. The term has recently been used to describe the work undertaken by music therapists outside the boundaries of the oneto-one or small group therapy sessions. In particular, it is applied to situations where the music therapist is responding flexibly to the social and cultural context of the setting in which they work (Ansdell, 2002). This could be seen as following in the footsteps of the enlightened Victorian philanthropists who saw the importance of creating a musical community within the walls of the hospital or asylum through encouraging choirs, bands and concert performances (Tyler, 2000). In the same tradition we will see Mary Priestleyâs broad interpretation of music therapy in St Bernardâs Hospital in the 1970s, which included open informal music sessions and performances by the therapists (see Chapter 2).
This âin-depth psychotherapeutic methodâ (Goldberg, 1995: 128) of music therapy was originally devised during the 1970s by Helen Bonny, a music therapist at the Maryland Psychiatric Research Centre in the US. âIn her research, Bonny found that when subjects listened to a carefully selected programme of [taped] classical music while in a relaxed state, powerful feelings and symbolic images were evoked, leading to significant insights into therapy issuesâ (Goldberg, 1995: 112). For each session, the therapist chooses the programme of taped music, basing the choice upon the history of the client, a âformulation of the therapeutic issuesâ and in support of the clientâs current mood (Goldberg, 1995: 114â5). In GIM there is a standard procedure for sessions, as devised by Bonny (Goldberg, 1995: 114): â(1) The preliminary conversation, (2) the induction (relaxation and focus), (3) The music listening phase, and (4) the post-session integration.â After the music has been played, the client is encouraged to share all âperceptions and experiences within the musicâ with the therapist, who writes them down. The role of the therapist, who must be completely attuned to the client, is to âobserve, listen and verbally reflect the process, serving to encourage, help and comfort as the client moves through the experienceâ (Goldberg, 1995: 115). The method has been successfully applied to a variety of client groups, particularly those without specific clinical needs, who may use it as a means of self-exploration and fulfilment. Practising the method requires special training and supervision, after qualification as a music therapist.
In improvisational music therapy, live improvised music-making is used as a medium for communication between client and therapist as the focus of a âhelping relationshipâ. The practice of music therapy in Britain today is largely based on the use of improvised music (Wigram, Odel...
Table of contents
- Cover Page
- Title
- Copyright
- Dedication
- Contents
- Foreword
- Acknowledgments
- Introduction
- PART I â GETTING STARTED
- PART II â CLINICAL MATTERS
- References
- Index