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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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: 10.1177/13594575211035256
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":null,"pages":null},"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: 10.1177/13594575211037926
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":null,"pages":null},"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: 10.1177/13594575211034952
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":null,"pages":null},"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}
Pub Date : 2021-08-23DOI: 10.1177/13594575211039090
Stine Camilla Blichfeldt-Ærø, S. Halvorsen, Gro Trondalen
There is a need for more research on the effect and practical application of music therapy in perioperative settings. With this in mind, a randomized controlled trial was performed to evaluate the stress-regulatory effects of a specific music therapy intervention on patients (n = 64) during cardiac device lead extraction procedures. This article presents a supplementary analysis of the randomized controlled trial to expand the perspective on the impact of the music therapy intervention related to patient anxiety and self-reported experiences. In this substudy, we analysed patients’ self-reported numeric-rated anxiety levels in relation to time and subgroups. The results were further illuminated through scores of the patients’ satisfaction with the music therapy intervention, and qualitative written patient reflections. Descriptive statistical analyses were used, and a supplementary content analysis addressed the written patient material. Results showed that levels of anxiety varied over time in all subgroups. Across different timeline profiles, most patients reported the highest anxiety levels preoperatively and the lowest postoperatively. Independent of anxiety levels, the patients reported positive experiences with music therapy related to coping with the procedure, wellbeing and satisfaction, expressed within the following four categories: (1) bodily sensations of wellbeing, (2) positive feelings, (3) presence of mind and (4) useful intervention elements.
{"title":"Music therapy in invasive cardiac procedures: Expanded perspective","authors":"Stine Camilla Blichfeldt-Ærø, S. Halvorsen, Gro Trondalen","doi":"10.1177/13594575211039090","DOIUrl":"https://doi.org/10.1177/13594575211039090","url":null,"abstract":"There is a need for more research on the effect and practical application of music therapy in perioperative settings. With this in mind, a randomized controlled trial was performed to evaluate the stress-regulatory effects of a specific music therapy intervention on patients (n = 64) during cardiac device lead extraction procedures. This article presents a supplementary analysis of the randomized controlled trial to expand the perspective on the impact of the music therapy intervention related to patient anxiety and self-reported experiences. In this substudy, we analysed patients’ self-reported numeric-rated anxiety levels in relation to time and subgroups. The results were further illuminated through scores of the patients’ satisfaction with the music therapy intervention, and qualitative written patient reflections. Descriptive statistical analyses were used, and a supplementary content analysis addressed the written patient material. Results showed that levels of anxiety varied over time in all subgroups. Across different timeline profiles, most patients reported the highest anxiety levels preoperatively and the lowest postoperatively. Independent of anxiety levels, the patients reported positive experiences with music therapy related to coping with the procedure, wellbeing and satisfaction, expressed within the following four categories: (1) bodily sensations of wellbeing, (2) positive feelings, (3) presence of mind and (4) useful intervention elements.","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44931191","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 : 2021-07-12DOI: 10.1177/13594575211028974
Nina Wollersberger
{"title":"Book Review: Catherine Richards, Living Well with Dementia through Music: A Resource Book for Activities Providers and Care Staff","authors":"Nina Wollersberger","doi":"10.1177/13594575211028974","DOIUrl":"https://doi.org/10.1177/13594575211028974","url":null,"abstract":"","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/13594575211028974","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65581572","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：