Vol 4 Nos 1-2
Home Up Ed & Admin Subscription Guidelines Index Vol 1 Nos 1-2 Vol 2 Nos 1-2 Vol 3 Nos 1-2 Vol 4 Nos 1-2 Vol 5 Nos 1-2 Vol 6 Nos 1-2 Vol 7 Nos 1-2 Vol 8 Nos 1-2 Vol 9 Nos 1-2 Vol 10 Nos 1-2 Vol 11 Nos 1-2 Vol 12 Nos 1-2 Vol 13 Nos 1-2 Vol 14 Nos 1-2 Vol 15 Nos 1-2 Vol 16 Nos 1-2 Vol 17 Nos 1-2 Vol 18 Nos 1-2 Vol 19 Nos 1-2 Vol 20 Nos 1-2 Vol 21 Nos 1-2

Vol 4 No 1 1990

Structural Analysis of Post-Tonal Therapeutic Improvisatory Music p6 - p20

Colin Andrew Lee

Abstract

The analytical investigation examining tonal therapeutic improvisatory music (Lee, C.A., 1989) would seem to indicate that music therapy should be exploring its own investigative form of analysis.  The adoption of a Schenkerian construct of analysis accommodates music therapy perhaps more clearly than the often complex statistics and pitch classes that, for the most part, concern the analysis of atonal music.  The tonal infrastructure can normally be described in direct relation to its harmonic foundation.  With atonality, however, such reference points are not easily available, except in serialism or similar theoretical forms of music.  It is the intention of this article to investigate the diverse constructs of post-tonal analysis and consider their validity in exploring atonal issues of therapeutic improvisation.  Initial focus will be on formal analysis of the improvisation, interspersed with a more informal subjective framework of enquiry endeavouring to evaluate relationships between both areas.

The passage of improvisation selected is taken from a different session with the same client, thus enabling various parallels to be drawn.

Limitations and Potential: A report on a Music Therapy group for clients referred from a counselling service. p21 - p26

Gary Ansdell

Abstract

This article describes the inception and progress of an experimental music therapy group at the Marylebone Music Therapy Unit.  Clients were referred from either the Counselling Service or the General Practice Unit, both also located in the crypt of St. Marylebone Church, London.  The article describes my search for an appropriate structure for the group and the formation of some theoretical perspectives on improvisation with such clients.  In conclusion is a section containing the clients' evaluations of their experience of the group over the period of one year.  Since the author does not claim in any sense to be a pioneer in this field, (whilst still acknowledging the work of other colleagues), this article is written in an exploratory style; because with these clients in this particular context, for him, it was experimental.

Book Reviewz p27 - p28

Defining Music Therapy, Bruscia, K.E. (1989). Spring City, USA: Springhouse Books.  Reviewed by Tony Wigram

Vol 4 No 2 1990

Dynamic Interplay in Clinical Improvisation p5 - p9

Mercédès Pavlicevic

Abstract

When a therapist and patient/client are actively engaged in improvising music together, the potential exists for the development of an intimate and dynamic emotional relationship.  The improvisation reveals both players' capacity for forming, expressing and communicating dynamic forms of feeling, within the context of this music relationship.  This paper examines the concept of dynamic forms, with recourse to the literature on mother-infant interaction, and applies this concept to clarify the use of clinical improvisation in music therapy.

Music Therapy and Elective Mutism: a case discussion p10 - p14

Alison Davies and ARK Mitchell

Abstract

This paper describes individual music therapy sessions with a 20-year-old man with specific communication difficulties manifested as inappropriate behaviour and elective mutism in his daily life.  It shows how music therapy was a particularly relevant treatment in the context of the Unit where he was being helped.  It illustrates firstly how aspects of play can be embraced in the therapeutic relationship, and secondly how problems can be worked through in the experience of both musical and non-musical interaction.  The therapist uses a psychodynamic viewpoint in her understanding and interpretation of the sessions.

"The Use of I and Me": music therapy with an autistic child p15 - p18

Alison Levinge

Abstract

This paper provides an account of three significant stages in 18 moths of music therapy with an autistic child, Rosa, whom I met when she was nearly two and a half years old.  First I introduce her, summarising my understanding of "autism" and the role of music therapy: the approach in psycho-dynamic, influenced by Klein, Winnicott and Tustin.  then I give a detailed description of a session six months after we started working together.  I conclude with an interpretation of the change in our relationship a year later.  four autistic features emerge: (i) destruction and negation followed by repair and affirmation; (ii) confusion of zones; (iii) infantile sexuality; (iv) a sense of emptiness. 

Music and the Mentally Handicapped: The Effect of Music on Anxiety p19 - p26

Jeff Hooper and Bill Lindsay

Abstract

This study reports the effects of music on the anxiety and agitation of four women with moderate and mild mental handicap.  Music therapy and recorded music were compared with a control condition using controlled case studies.  Two measures of anxiety were recorded - pulse rate and a behavioural rating.  No improvement was found under the control conditions, while both music conditions produced some improvements.  Variations in the pattern of responses to each form of music are discussed.

Book Review p27

The Creative Process, Part 1: Applications in therapy and education Edited by J. Houben, H. Smitskamp, J. te Velde/reviewed by Helena Newsom