Download A Comprehensive Guide to Music Therapy: Theory, Clinical by Tony Wigram, Inge Nygaard Pedersen, Lars OLE Bonde PDF

By Tony Wigram, Inge Nygaard Pedersen, Lars OLE Bonde

Song therapists, as in clinical and paramedical professions, have a wealthy variety of techniques and techniques, frequently constructed with particular relevance to fulfill the wishes of a definite shopper inhabitants. This e-book displays the various parts of such variety, and is a completely complete advisor to having access to and figuring out the information, concept, study effects and medical results which are the rules of this box.

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Additional resources for A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training

Example text

As music therapists take the clinical application of music as their starting point, they rarely understand music as an abstract or autonomous phenomenon, but rather as a unique means of self-expression and communication. Basically there are three different views on the question of meaning in music (Pavlicevic 1997): The absolutist position (also called the theory of autonomy, or absolute formalism). Music has no other meaning than the music itself. It is non-referential and independent of objects or emotions in the external world, and its ‘meaning’ is a matter of specific aesthetic events or processes governed by unique musical laws.

Music can be a direct expression of a client’s emotions, or a musical representation – symbolic or metaphorical – of spiritual or complicated psychological states and conditions, or the musical expression can be an analogy to the client’s being-in-the-world (D. Aldridge 1996a; Bruscia 1994, 1998a; Pavlicevic 1997; Smeijsters 1999). 3. Yes, music can have meaning even if it cannot be expressed in words. This ‘tacit knowledge’ or ‘inexpressible meaning’ can be found at different levels. At a structural level it is often impossible to formulate an even very precise musical experience in words.

In tests on babies of six months, he 56 A COMPREHENSIVE GUIDE TO MUSIC THERAPY found that rhythmic tests attracted little attention, whereas songs and instrumental music attracted the most active attention and movements. Babbling songs of 12-month children begin to show aspects of musical organization with pitched glissandi, downward melodic lines and four note figures (Moog 1976). Singing has received more attention in children than any other aspect of musical development. In the last 30 to 40 years much has changed as televisions, tape recorders and CD players have replaced home-based music-making, and it is even questionable how many mothers still sing to their children.

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