Pub Date : 2022-04-05DOI: 10.1177/13594575221090182
H. Davies
Neurodiversity (the idea that autism is a natural part of human diversity) is a concept that is only just beginning to be explored in music therapy research. The idea of neurodiversity can be viewed as an important part of the emerging discourse around diversity and social justice in British music therapy, with a potentially radical influence on both music therapy practice and the way in which autistic clients and colleagues are viewed. This article, written from the ‘insider perspective’ of an autistic Music Therapist, explores the origins of the concept of neurodiversity, the emerging strand of music therapy research concerning neurodiversity, the re-framing of autistic characteristics such as stimming within the concept of autistic culture, and the potential influence on music therapy practice and discourse of a wider paradigm shift towards the neurodiversity paradigm. These topics are considered within a social justice context, situating autistic / neurodivergent people as a minoritized identity within society and examining the potential influence of power dynamics, unconscious bias and privilege within the therapeutic relationship. The characteristics of a neurodiversity-affirmative style of music therapy are considered, and a need is identified for more music therapy research in order to elucidate this way of working.
{"title":"‘Autism is a way of being’: An ‘insider perspective’ on neurodiversity, music therapy and social justice","authors":"H. Davies","doi":"10.1177/13594575221090182","DOIUrl":"https://doi.org/10.1177/13594575221090182","url":null,"abstract":"Neurodiversity (the idea that autism is a natural part of human diversity) is a concept that is only just beginning to be explored in music therapy research. The idea of neurodiversity can be viewed as an important part of the emerging discourse around diversity and social justice in British music therapy, with a potentially radical influence on both music therapy practice and the way in which autistic clients and colleagues are viewed. This article, written from the ‘insider perspective’ of an autistic Music Therapist, explores the origins of the concept of neurodiversity, the emerging strand of music therapy research concerning neurodiversity, the re-framing of autistic characteristics such as stimming within the concept of autistic culture, and the potential influence on music therapy practice and discourse of a wider paradigm shift towards the neurodiversity paradigm. These topics are considered within a social justice context, situating autistic / neurodivergent people as a minoritized identity within society and examining the potential influence of power dynamics, unconscious bias and privilege within the therapeutic relationship. The characteristics of a neurodiversity-affirmative style of music therapy are considered, and a need is identified for more music therapy research in order to elucidate this way of working.","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"36 1","pages":"16 - 26"},"PeriodicalIF":0.7,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46804981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-05DOI: 10.1177/13594575221090180
T. Roman
This article is a critical reflection on the development of a research approach to explore therapeutic relationships in psychodynamic music therapy with children and young people with complex needs. The article starts by positioning my research project within contemporary music therapy discourse, discussing literature from psychoanalysis, music therapy research and a broad range of related disciplines. This illustrates the development of a socially, culturally and politically contextualised understanding of the theory and practice of music therapy with people with complex needs and outlines the theoretical concepts which support and inform my research approach. Fricker’s Epistemic Injustice paradigm is used to provide a contextualised philosophical concept to explore why and how people with complex needs are frequently excluded from academic research. A critical disability study perspective is used to outline the need for inclusive research practice to develop epistemological frameworks and methodologies to include the voices of those marginalised in society. The article concludes with an outline of my current research project, discussing how the ideas previously described have informed the research approach and been integrated into the project design.
{"title":"Developing a research approach to explore therapeutic relationships with children and young people with complex needs: A critical reflection","authors":"T. Roman","doi":"10.1177/13594575221090180","DOIUrl":"https://doi.org/10.1177/13594575221090180","url":null,"abstract":"This article is a critical reflection on the development of a research approach to explore therapeutic relationships in psychodynamic music therapy with children and young people with complex needs. The article starts by positioning my research project within contemporary music therapy discourse, discussing literature from psychoanalysis, music therapy research and a broad range of related disciplines. This illustrates the development of a socially, culturally and politically contextualised understanding of the theory and practice of music therapy with people with complex needs and outlines the theoretical concepts which support and inform my research approach. Fricker’s Epistemic Injustice paradigm is used to provide a contextualised philosophical concept to explore why and how people with complex needs are frequently excluded from academic research. A critical disability study perspective is used to outline the need for inclusive research practice to develop epistemological frameworks and methodologies to include the voices of those marginalised in society. The article concludes with an outline of my current research project, discussing how the ideas previously described have informed the research approach and been integrated into the project design.","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"36 1","pages":"27 - 36"},"PeriodicalIF":0.7,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48438260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-28DOI: 10.1177/13594575221090414
Emma Millard
{"title":"Editorial May 2022","authors":"Emma Millard","doi":"10.1177/13594575221090414","DOIUrl":"https://doi.org/10.1177/13594575221090414","url":null,"abstract":"","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"36 1","pages":"3 - 4"},"PeriodicalIF":0.7,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43097120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-24DOI: 10.1177/13594575221078582
B. Pickard
In pedagogic literature informed by critical disability studies, academia is widely cited as an ableist institution: the training ground for the professions of normalcy. Music therapy could readily be complicit in this normalising discourse with its potential to pathologise participants and to maintain a strict ‘normative divide’, between professionals it trains and participants who engage with its provision. Activists, advocates and disabled therapists have posed a welcome challenge to this positioning in recent publications, but the pedagogical dimensions of music therapy training in this area have received less attention. The emerging signature pedagogy of music therapy and its omissions will be considered, which may explain the need for an increased social justice focus in music therapy curricula. This article considers the potential of applying Kumashiro’s typologies of anti-oppressive education in music therapy training: problematising existing pedagogies and critically reflecting upon the potential of a social justice informed curriculum. These approaches have the potential to reframe Otherness by acknowledging expertise in lived experience. Through introducing these frameworks for socially just, anti-oppressive pedagogies, this article invites consciousness raising in music therapy pedagogy through engagement with critical disability studies theory and philosophy.
{"title":"Anti-oppressive pedagogy as an opportunity for consciousness raising in the music therapy profession: A critical disability studies perspective","authors":"B. Pickard","doi":"10.1177/13594575221078582","DOIUrl":"https://doi.org/10.1177/13594575221078582","url":null,"abstract":"In pedagogic literature informed by critical disability studies, academia is widely cited as an ableist institution: the training ground for the professions of normalcy. Music therapy could readily be complicit in this normalising discourse with its potential to pathologise participants and to maintain a strict ‘normative divide’, between professionals it trains and participants who engage with its provision. Activists, advocates and disabled therapists have posed a welcome challenge to this positioning in recent publications, but the pedagogical dimensions of music therapy training in this area have received less attention. The emerging signature pedagogy of music therapy and its omissions will be considered, which may explain the need for an increased social justice focus in music therapy curricula. This article considers the potential of applying Kumashiro’s typologies of anti-oppressive education in music therapy training: problematising existing pedagogies and critically reflecting upon the potential of a social justice informed curriculum. These approaches have the potential to reframe Otherness by acknowledging expertise in lived experience. Through introducing these frameworks for socially just, anti-oppressive pedagogies, this article invites consciousness raising in music therapy pedagogy through engagement with critical disability studies theory and philosophy.","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"36 1","pages":"5 - 15"},"PeriodicalIF":0.7,"publicationDate":"2022-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41914803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-16DOI: 10.1177/13594575221078591
K. Mcferran, Meagan Hunt
Community music therapy is a widely accepted approach that has its origins in the British community music scene and was carefully developed with respect to participatory values dominant in Norwegian practice. This article describes the way an Australian community music therapy programme for youth has been experienced by a group of diverse young people participating in a programme that is for youth who share an enthusiasm and a passion for music and often bring formidable talent to the group. They are also young people who are experiencing adversity due to chronic illness, mental ill-health, unstable homes lives or acute personal crisis or challenge. Qualitative analysis of interviews identified a number of themes including It is like a family; We understand one another’s life experiences and It is good for me, and also identified that diverse group members responded first to the emphasis on the value of music-based experiences, but strongly benefitted from the understanding afforded of the challenges they faced as a result of adverse life experiences. Possible distinctions between traditional group music therapy with adolescents and community music therapy are considered, with implications for programme descriptions and the level of focus on music and support adopted by facilitators.
{"title":"Music, adversity and flourishing: Exploring experiences of a community music therapy group for Australian youth","authors":"K. Mcferran, Meagan Hunt","doi":"10.1177/13594575221078591","DOIUrl":"https://doi.org/10.1177/13594575221078591","url":null,"abstract":"Community music therapy is a widely accepted approach that has its origins in the British community music scene and was carefully developed with respect to participatory values dominant in Norwegian practice. This article describes the way an Australian community music therapy programme for youth has been experienced by a group of diverse young people participating in a programme that is for youth who share an enthusiasm and a passion for music and often bring formidable talent to the group. They are also young people who are experiencing adversity due to chronic illness, mental ill-health, unstable homes lives or acute personal crisis or challenge. Qualitative analysis of interviews identified a number of themes including It is like a family; We understand one another’s life experiences and It is good for me, and also identified that diverse group members responded first to the emphasis on the value of music-based experiences, but strongly benefitted from the understanding afforded of the challenges they faced as a result of adverse life experiences. Possible distinctions between traditional group music therapy with adolescents and community music therapy are considered, with implications for programme descriptions and the level of focus on music and support adopted by facilitators.","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"36 1","pages":"37 - 47"},"PeriodicalIF":0.7,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41955792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-15DOI: 10.1177/13594575221074059
Polly Bowler, R. Hood, Eleanor Keiller, Helen O’Loughlin, Katherine Rothman
in the profession. She is the Course Leader of the MA Music Therapy at the University of South Wales. Her research interests include music and music therapy in infancy and early childhood as well as the identity of the C21st music therapist.
{"title":"Book Review: Phil Jones, The Arts Therapies: A Revolution in Healthcare","authors":"Polly Bowler, R. Hood, Eleanor Keiller, Helen O’Loughlin, Katherine Rothman","doi":"10.1177/13594575221074059","DOIUrl":"https://doi.org/10.1177/13594575221074059","url":null,"abstract":"in the profession. She is the Course Leader of the MA Music Therapy at the University of South Wales. Her research interests include music and music therapy in infancy and early childhood as well as the identity of the C21st music therapist.","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"36 1","pages":"60 - 64"},"PeriodicalIF":0.7,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65581744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-11DOI: 10.1177/13594575221076670
Elizabeth Coombes
{"title":"Book Review: Anna Ludwig (ed.), Music Therapy in Children and Young People’s Palliative Care","authors":"Elizabeth Coombes","doi":"10.1177/13594575221076670","DOIUrl":"https://doi.org/10.1177/13594575221076670","url":null,"abstract":"","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"36 1","pages":"59 - 60"},"PeriodicalIF":0.7,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48694847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1177/13594575211037926
Eleanor Richards
{"title":"Book Review: Roger Kennedy, The Power of Music: Psychoanalytic Explorations","authors":"Eleanor Richards","doi":"10.1177/13594575211037926","DOIUrl":"https://doi.org/10.1177/13594575211037926","url":null,"abstract":"","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"35 1","pages":"79 - 81"},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48716454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1177/13594575211035256
T. Watson
{"title":"Editorial","authors":"T. Watson","doi":"10.1177/13594575211035256","DOIUrl":"https://doi.org/10.1177/13594575211035256","url":null,"abstract":"","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"35 1","pages":"41 - 42"},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/13594575211035256","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47970545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1177/13594575211034952
D. Porter
movement in music. He locates that in the possibilities of tonal harmony, with its deployment of tension and release through dissonance and resolution as it moves towards the cadence. He regards those elements as reflective of human experience – ‘Music is then sound transformed by human experience’ (p. 19)–and the sonata principle, rooted in tonality, as a model of harmonic movement both generating and informing musical and emotional structure. The author has less time for atonal music, which he sometimes places under a general umbrella of ‘serialism’ (surely not always the case), partly because he experiences such music as more static. He speculates about the relationship between the emergence of atonality and growing awareness, articulated by Freud, of the chaotic and fragmentary nature of unconscious experience, far from the smooth progressions of shared tonal understanding; he cites Schoenberg’s Erwartung as an example of music that ‘. . . seems to take us nearer to extreme or “dissonant” mental states, almost borderline hysterical at times’ (p. 26). The possibility that atonal music may also find forward movement – through shifts in intensity, pace, texture, sound colour and so on – and by those means create an emotional narrative in its own terms, is not considered. Every musically inclined reader will find resonances in this book, but there are some inevitable gaps. As the author is primarily intrigued by the experience of the listener, and by extension by the intersubjective listener/composer relationship, the emotional impact and complexities of actively playing or singing are relatively little considered. For music therapists, especially those who think of their work as psychoanalytically informed, the absence of any discussion of improvisation will also stand out. The possibility of music therapy itself as a therapeutic modality is not raised. Music therapy is mentioned only once in a section which considers some theories of music and emotion in social contexts: the author mentions the work of DeNora, in particular her enquiry into women’s experience of music in ‘. . . exercise classes, karaoke evenings, music therapy sessions, and in the retail sector.’. . (p. 96). It might seem a natural next step, given the author’s preoccupation with musical activity as emotional, relational, and with deep roots in unconscious experience, to explore the possibilities of music therapy itself, especially as there are recurring reminders of the ways in which the language of music may enhance understanding of the psychoanalytic encounter. But that is not for this book. Overall, however, this is a book of discursive exploration which offers, through its wealth of references and examples, the possibilities of plenty of fascinating side turnings off its main path to take the reader further. The absence of any detailed reference to music outside the Western classical tradition might be perceived as a limitation; it should also, however, act as starting poi
{"title":"Book Review: Anna Chesner and Sissy Lykou (eds), Trauma in the Creative and Embodied Therapies: When Words Are Not Enough","authors":"D. Porter","doi":"10.1177/13594575211034952","DOIUrl":"https://doi.org/10.1177/13594575211034952","url":null,"abstract":"movement in music. He locates that in the possibilities of tonal harmony, with its deployment of tension and release through dissonance and resolution as it moves towards the cadence. He regards those elements as reflective of human experience – ‘Music is then sound transformed by human experience’ (p. 19)–and the sonata principle, rooted in tonality, as a model of harmonic movement both generating and informing musical and emotional structure. The author has less time for atonal music, which he sometimes places under a general umbrella of ‘serialism’ (surely not always the case), partly because he experiences such music as more static. He speculates about the relationship between the emergence of atonality and growing awareness, articulated by Freud, of the chaotic and fragmentary nature of unconscious experience, far from the smooth progressions of shared tonal understanding; he cites Schoenberg’s Erwartung as an example of music that ‘. . . seems to take us nearer to extreme or “dissonant” mental states, almost borderline hysterical at times’ (p. 26). The possibility that atonal music may also find forward movement – through shifts in intensity, pace, texture, sound colour and so on – and by those means create an emotional narrative in its own terms, is not considered. Every musically inclined reader will find resonances in this book, but there are some inevitable gaps. As the author is primarily intrigued by the experience of the listener, and by extension by the intersubjective listener/composer relationship, the emotional impact and complexities of actively playing or singing are relatively little considered. For music therapists, especially those who think of their work as psychoanalytically informed, the absence of any discussion of improvisation will also stand out. The possibility of music therapy itself as a therapeutic modality is not raised. Music therapy is mentioned only once in a section which considers some theories of music and emotion in social contexts: the author mentions the work of DeNora, in particular her enquiry into women’s experience of music in ‘. . . exercise classes, karaoke evenings, music therapy sessions, and in the retail sector.’. . (p. 96). It might seem a natural next step, given the author’s preoccupation with musical activity as emotional, relational, and with deep roots in unconscious experience, to explore the possibilities of music therapy itself, especially as there are recurring reminders of the ways in which the language of music may enhance understanding of the psychoanalytic encounter. But that is not for this book. Overall, however, this is a book of discursive exploration which offers, through its wealth of references and examples, the possibilities of plenty of fascinating side turnings off its main path to take the reader further. The absence of any detailed reference to music outside the Western classical tradition might be perceived as a limitation; it should also, however, act as starting poi","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":"35 1","pages":"81 - 84"},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/13594575211034952","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46356351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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