Vol 16 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 16 No 1 2002

Foreword 

'Dialogue and Debate'  Music Therapy in the 21st Century:  A contemporary force for change  p2 - p3

Nigel Hartley

Editorial - 'Dialogue and Debate'  p4 - p6

Julie Sutton

Historical Perspectives Interview Series  p7 - p10

Denize Christophers - Interviewed by Helen Tyler

Making her 30 years of work for the UK music therapy profession, Denize Christophers is interviewed by Helen Tyler

Indications in Music Therapy: Evidence from Assessment that can Identify the Expectations of Music Therapy as a Treatment for Autistic Spectrum Disorder (ASD); Meeting the Challenge of Evidence Based Practice  p11 - p28

Tony Wigram

Abstract

When children with Autistic Spectrum Disorder (ASD) are assessed in music therapy, significant strengths, potentials and resources emerge that may remain hidden in other, more formalised assessments.  Therefore, it is becoming more necessary to develop a systematic method of describing this responsiveness, in order to define the expectations of therapy. Music therapy is a particularly important intervention for children with ASD to engage and nurture their capacity for flexibility, creativity, variability and tolerance of change, in order to balance the more structured and behaviourally driven education that is currently popular.  The potential of treatment can be defined within the context of meeting healthcare needs.  A case study will illustrate a model for defining 'expectations of therapy', by drawing on one child's awakened capacity for interaction through shared, improvised music-making.

This article includes a long appendix providing an evidence-based review and recommendations regarding assessment and referral criteria based on current research and clinical evidence.

Using the Evidence Based Medicine Framework to Support Music Therapy Posts in Healthcare Settings  p29 - p34

Jane Edwards

Abstract

the Evidence Based Medicine (EBM) framework has been incorporated into the field of healthcare practice over the past decade.  Whatever our stance as to its benefits and disadvantages, more and more music therapists in health departments and related clinical posts will be asked to account for their work using this approach to the documentation of clinical effectiveness.  It is important that music therapist working within clinical service guidelines understand the framework of EBM and are aware of ways in which they can include its precepts in their justifications for practice and posts.  The levels of evidence in an EBM approach and presented and discussed and the issues particular to the application for music therapy research findings are explored.  Given the author's experience in paediatric medical settings, some of the examples in this paper will refer to the children's hospital context in particular.

An Investigation into Music Found to Trigger Peak Emotional Experiences During Controlled Listening Experiments  p35 - p45

Michael J. Lowis and Colin Touchin

Abstract

Peak emotional experiences can be triggered inter alia by music (Maslow 1962).  74 college staff members, from a population previously surveyed for incidences of such experiences, listed to music selections under controlled conditions and recorded the timings of any peak events that might have occurred.  An attempt was then made to identify and analyse points in the music that had triggered high incidents of peaks, such as changes in harmony, key or loudness.  Although there were individual differences, at the macro level the recorded peaks during 25 to 30 minutes of gentle music revealed an alternating high-low response pattern between different pieces, but such a trend was less obvious with upbeat items.  Some reasons for these findings are suggested.  The results may have value for those who use music for healing purposes, especially music therapists, and for composers or compilers of music programmes who need to anticipate listener reaction.

A Review of Current Practice in Group Music Therapy Improvisations  p46 - p55

Katrina Skewes

Abstract

The information contained in this article has been derived from a series of interviews conducted by the author with selected specialists in music therapy group improvisation.  Although the music therapy literature barely addresses the musical material created in group improvisations, it is not true to say that there is no expertise in this area.  Rather, it is likely that the difficulties in communicating these musical processes via the written word or transcribed score have discouraged researchers and clinicians from publishing current theories and understandings.  For this reason, selected specialist were approached to take part in in-depth interviews aimed to solicit their current understandings of music therapy group improvisations.  The results in this article are make up solely of the information shared in these interviews in response to a series of open-ended questions posed by the author.

Book Review  p56 - p57

The Secrets of Successful Parenting - Understand What Your Child's Behaviour is Really Telling You, edited by Andrea Clifford-Poston/Reviewed by Ruth Walsh Stewart

 

Vol 16 No 2 2002

Editorial

Survival in the Workplace: the Strength and Vulnerability of the Music Therapy Practitioner  p62 - p64

Julie Sutton

Historical Perspectives Interview Series  p67 - p70

Diana Asbridge - Interviewed by Mary Simmons

The Journey Through a Barren Landscape to Practising Music Therapist  p71 -p82

Helen Lunt

Abstract

In this article I describe my personal journey through mental illness to practising music therapist, which spans some 30 years.  The bleak and barren landscape of the hospitals in which I was an acute patient has now been transformed into a colourful milieu where I practise as a music therapist.  The parallel paths of my own illness and my professional training are growing into an integration of my inner and outer life, which is reflected in my music therapy work with people with mental health problems.

The names of all people have been changed to safeguard anonymity.  I have used the third person when discussing my own story, also providing additional perspective by using the pseudonym 'Jane'.  The article is in two main sections.

Supervision or Double Vision: An Exploration of the Task of Music Therapy Supervision  p83 - p89

Alison Levinge

Abstract

Supervising clinical material that is expressed in musical language but which is discussed and articulated predominantly in words can make the development of a supervisory relationship a complex process.  This paper examines how certain elements within the clinical material of a musical therapeutic relationship may give rise to material of a primitive nature, and how this can become unconsciously expressed within the supervisory relationship.

Book Reviews  p90 - p96

Music Therapy Supervision, Edited by Michele Forinash/Reviewed by Carolyn Arnason

Where Analysis Meets the Arts: The Integration of the Arts Therapies with Psychoanalytic Theory, Edited by Y. Searle and I. Streng/Reviewed by Alison Levinge

Caring for a Child with Autism: A Practical Guide for Parents by Martine Ives and Nell Munro and Reviewed by Amelia Oldfield

Erratum  p100

The following article was published in the last edition, erroneously attributed to Katrina Skewes as sole author.  It was co-authored by Katrina Skewes and Tony Wigram.

A Review of Current Practice in Group Music therapy Improvisations