Notes from preliminary research into music therapy
Music therapy as dialogue between therapist and client
To understand how music therapy works, it is necessary to examine the unique nature of each of the four types of music experience— listening to, recreating, improvising, and composing.
Case Examples of Music Therapy for Bereavement, Barcelona Publishers, 2012. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/soton-ebooks/detail.action?docID=3117656.
Created from soton-ebooks on 2025-01-31 14:32:02.
Some debate about what medical music therapy should be about:
Bruscia (1998) defines medical music therapy as “all applications of music or music therapy where the primary focus is on helping the client to improve, restore, or maintain physical health” (p. 193). The goals may be directed toward change in the biomedical condition; to modify the cognitive, emotional, social, or spiritual factors that contribute to the biomedical condition; or to provide support to the client during the course of illness, medical treatment, or stages of recovery. According to Bruscia, medical music therapy does not include every approach provided to medical patients. Instead, medical music therapy includes only practices that “ultimately seek a change in the client’s physical health” (p. 193). Thus it is distinguished from psychotherapy, as psychotherapy seeks psychosocial changes in the client regardless of changes in the client’s physical health.
Dileo (1999) argues against distinguishing the practice of medical music therapy based on goals and outcomes. Her argument is supported through research into the mind/body/spirit connection. Accordingly, Dileo defines medical music therapy as music interventions implemented by a boardcertified music therapist to meet the complex and diverse needs of medical patients. Medical music therapy always involves a therapeutic process, a music therapist, and a therapeutic relationship established within and through the music. Medical music therapy approaches may address physiological, emotional, social, spiritual, and/or cognitive and behavioral needs. With regard to medical treatment, music therapy may serve as the primary mode, in a supportive role, or in equal partnership with medical treatment.
Guidelines for Music Therapy Practice in Adult Medical Care, edited by Joy Allen, Barcelona Publishers, 2012. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/soton-ebooks/detail.action?docID=3117669.
Created from soton-ebooks on 2025-01-31 14:34:01.
**Good book for overview of music as therapy, incl. neurology**
Music activates most of the brain, and the brain’s response to music is integrated with bodily sensations and activity. When music sends impulses through the auditory system, it activates attention, memory and expectation, and the body responds with emotions and potential motion, as well as changes in heartbeat, breathing and perspiration (Altenmüller and Schlaug 2012; Särkämö, Tervaniemi and Huotilainen 2013). Auditory perception and other kinds of sensory perception are embodied actions that aim at investigating the environment and guiding the body’s potential activity (Clark 1997, 2013; Varela, Thompson and Rosch 1991). The brain receives multiple streams of information from the senses and the body, processes the input and sends back information that focuses and adjusts sensory perception. The present text aims at illuminating brain structures and brain functions related to music and music therapy. The first three sections describe relationships and interactions between the auditory system and relevant brain structures. The two following sections address music-related brain functions and the reward systems which can induce feelings of pleasure in the body. The final section focuses on music’s activation of extensive brain networks.
==> this project would be an example of ‘receptive method’ in music therapy
==> section 3.10 = 3.1 physiological reactions to music
A Comprehensive Guide to Music Therapy, 2nd Edition : Theory, Clinical Practice, Research and Training, edited by Stine Lindahl Jacobsen, et al., Jessica Kingsley Publishers, 2019. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/soton-ebooks/detail.action?docID=5751478.
Created from soton-ebooks on 2025-01-31 14:37:22.
Interesting cultural points of view and ideas about the way our relations influence music
This vignette suggests that our personal as well as social identity can be reflected and generated by music that we come to know intimately at different times in our lives. These kinds of understandings can be used in thinking about what music we might choose for group sessions, and how individuals and the collective may respond to the choice, in the sense of musical ‘ownership’ and musical and personal/collective feelings of identity. Let’s think through various aspects surrounding musical and personal experience that you need to consider when choosing music for your work.
Pavlicevic, Mercedes. Groups in Music : Strategies from Music Therapy, Jessica Kingsley Publishers, 2003. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/soton-ebooks/detail.action?docID=290819.
Created from soton-ebooks on 2025-01-31 14:42:43.
Ways to think about the effect of music:
Ruud (1990, 1998, 2001) has proposed a theoretical definition of music addressing four main properties or encompassing four levels of experience and analysis: 1. 2. 3. 4. the physiological and biomedical level of music as a sound phenomenon the level of music as non-referential meaning or syntax; music as a structural phenomenon the level of music as referential meaning; music as a semantic phenomenon the level of interpersonal communication; music as a pragmatic phenomenon .
Microanalysis in Music Therapy : Methods, Techniques and Applications for Clinicians, Researchers, Educators and Students, edited by Thomas Wosch, and Tony Wigram, Jessica Kingsley Publishers, 2007. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/soton-ebooks/detail.action?docID=334128.
Created from soton-ebooks on 2025-01-31 14:47:22.
