Beruflich Dokumente
Kultur Dokumente
BOOK OF ABSTRACTS
&
PROGRAMME
This Book of Abstract has been compiled from the latest informa-
tion available in the Congress Office. The Organising Committee
apologise for any additions or omissions that should have been
made. The deadline had to be set in order to ensure the book was
printed on time for everyone to receive a copy at the Congress.
CONTENTS
Welcome to the VIII European Music Therapy Congress, Evidence for Music Therapy Practice, Re-
search & Education. The Organising Committee is very pleased to receive music therapists from Euro-
pean and non European countries to Cádiz, Spain.
In the last years the Music Therapy Profession has encourages the importance of a strong theoretical
basis for clinical practice supported by research results. During this Congress contributions with a strong
emphasis on theoretical bases of clinical practice, research, and training will be presented. Evidence for
the value and effectiveness of applied music therapy in education, psychotherapy, community and medical
settings will be discussed in Symposiums, Round Tables, Papers and Poster presentations, including both
qualitative and quantitative perspectives. Workshop presentations will cover a range of topics connected
with practical aspects of clinical practice and educational issues.
The EMTC 2010 Congress will be an excellent International Forum for these clinicians, researchers and
academics to present and discuss their work. Cádiz, the oldest city in Europe, with its ancient history,
landscapes, beaches, sunsets, gastronomy and atmosphere make it the ideal setting to combine science,
music and fun with the aim of finding out about the latest ideas in music therapy.
Finally, the Organising Committee wish all Delegates an inspiring and successful Congress!
Welcome to Cádiz!
Dr. Patricia L. Sabbatella
Congress Chair
6 | ORGAnISATIOn | VIII European Music Therapy Congress
1 . OrGANISATION
In cooperation with:
• Escola Superior de Educação – Instituto Politécnico do Porto, Portugal.
Centro de Investigação em Psicologia da Música e Educação Musical (CIPEM). ESE – IPP
Organising Committee
Patricia L. Sabbatella
Álvaro Pérez Gallardo
Eva Maria de los Pinos Santos
Juan de Dios García Hernández
Victoria Oliva Reina
Andrés Hermida Hermida
José Luis Torres Ortiz
Conference Assistants
Students of the University of Cádiz, Faculty of Tourism
GEnERAl InFORMATIOn | VIII European Music Therapy Congress | 7
2. GE NErAl INFOrmATION
universidad de Cádiz
Facultad de Filosofia y Letras
Avda. Gómez Ulla, 1 · 11003 Cádiz
Aulario La Bomba
Paseo Carlos III, 3 · 11003 Cádiz
Abstract
In the presentation I will refer to historical, educational, clinical and research perspectives of
music therapy in Spain.
Besides the historical references of authors writing about the importance of the music for the
human being, Music Therapy as a discipline and profession started in Spain in 1964 with a the-
ses dissertation at the University of Barcelona, Faculty of Education. Since then, the clinical
practice of the Music Therapy extended to a large type of populations in different settings. Edu-
cation and training of music therapists evolved from introductory private courses to University
training, being introduced as a Postgraduate University Course at the Univerisity of Barcelona
in 1992. Research development started in the end of nineteen with publications in the area. The
main challenge is the recognition of the profession by the authorities. Music Therapy Associa-
tions are working on it.
References
Associació Catalana de Musicoterapia. (2007). www.acmt83-07.com
Del Campo, P. (1993). «Music Therapy in Spain». Ch. D. Maranto (ed.), Music Therapy International pers-
pectives. Pipersville: Jeffrey Books, 546-556.
SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | KEynOTE SPEAKERS | VIII European Music Therapy Congress | 9
Abstract
Music therapy research is the lifeblood of the profession – and the adrenalin that feeds the cli-
nical field and the academic world. It matters to all aspects of work, and we all need to invest in
it. Research results are important for informing music therapy methods with clients, recognition
of the discipline by other professions, and creatin or sustaining jobs. Music therapy must have
a firm scientific foundation, and research evidence, together with clinician observed and client
reported effects give us Evidence Based Practice.
This paper will address the importance and relevance of research explained in everyday, un-
derstandable language. Music therapy clinicians may not be researchers, but to know about
research results, and to be able to communicate them and apply them in your clinical work will
strengthen your profile and gain the esteem of your colleagues. Whether you are a music therapy
educator, student, clinician or researcher, you are all involved in this sequence of related factors
– Clients needs...... clinicians goals...... research findings...... therapeutic methods...... therapy
process and outcome...... music therapy education
Keywords: Research; evidence based practice; clinical.
Tony Wigram. Professor and Head of PhD Studies in music therapy, Aalborg University, Den-
mark. Professor of Music Therapy, Anglia Ruskin University, United Kingdom; Principal Research
Fellow, School of Music, Melbourne University. tony@hum.aau.dk
10 | SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | KEynOTE SPEAKERS | VIII European Music Therapy Congress
Abstract
Transgenerational interactions contain the unconscious transferences of patterns of behaviour,
experiences and emotions to the subsequent generations of a family system. These transferen-
ces are symbolically returned to the original persons involved during the therapeutic process.
Aside from transgenerational transferences within the family context we are also dealing with
collective psycho traumatic experiences like war, expulsion, mass murder, mass rape, and star-
vation. The «emotional anaesthesia» of the affected persons often leads to dissociations and
unconscious repetition of psycho traumatic symptoms by descendants in the same family. These
phenomena are increasingly researched scientifically, specially by the ground braking work of
the psychologist Dan Bar-On, and identified as relevant for psychotherapy.
In music therapy the emotional recall of the feelings connected to the traumatic experience is
evoked through specific sounds or systemic constellations. Constellations provide a direct ac-
cess to the systemic level of the collective unconscious as it is understood in the work of C.G.
Jung. In music therapy the emotional recall becomes a very vivid sensory experience.
Specific sounds evoke dynamic archetypal resonances and lead to revealing interactions bet-
ween the intuitively guided representatives of the family members and their disassociated co-
rresponding psychic parts. Music therapy provides a significant advantage over verbal therapy
through simultaneous combination of expression and interaction. Deeply hidden entanglements
can rise to the surface in music therapy and can be resolved. Pathological communication and
bonding disorders across generations have implications beyond the family and need to be seen
in the context social exclusion and the increase of violence.
This issue needs to be addressed within the public education system from an early age on and is
no longer only a private matter. The University of Augsburg initiated a major research focus for the
advancement in child and adolescent education in which music therapy plays an important role.
References
Boszormenyi-Nagy, Ivan u. Spark & Geraldine M. (1996). Unsichtbare Bindungen. Die Dynamik familiärer
Systeme. Stuttgart: Klett-Cotta.
Kogan, I. (2005). Learning from the past to the trans-generational dynamics. Lernen aus der Vergangenheit
zur Überwindung von Trauma-Übertragung. Vortrag am 15.4.2005 im Rahmen der 55. Lindauer Psycho-
therapiewochen (www.Lptw.de).
Timmermann, Tonius (2003). Klingende Systeme. Aufstellungsarbeit und Musiktherapie. Heidelberg: Carl-
Auer-Systeme Verlag.
Abstract
Analytical music listening – the guided fantasies method (Radulović, 1996) represents a tech-
nique from the domain of the receptive, reconstructive music therapy of the transpersonal range.
Therapeutic progress is based on the paradoxical intention principle, and the therapeutical pro-
cess phases are clearly defined in relation to specific disturbances.
The aim of work is to represent the qualitative analysis method of the AML music selection and
qualitative analysis protocole of the individual protocole by application of the ALM GFM method.
Material consists of the therapy protocoles of the patients from the Psychiatric Clinic in Belgrade,
in period 1994-2010, as well as of healthy persons, candidates for Hatorum education, the Music
Therapy Education Center of Belgrade.
The introductory part shall present the qualitative analysis of the music selection method in re-
lation to the form and the content of the music piece, and in relation to specific therapy aims,
as well as the qualitative fantasy analysis in the analytical music listening – the guided fantasies
method. Based applying specific music pieces, the qualitative analysis and the ”profile“ of the
used music pieces in the specific therapy phases, as well as of the specific therapy intervention,
shall be provided in the second part of the work.
According to qualitative analysis of fantasies obtained from the clients in the individual and
group therapy, and the didactic analysis of the candidates undergoing education, we represent
the opinion that it is possible to determine certain characteristics in the form or the content of
the music piece, which, within the clear methodology frame, achieve the therapy aim.
The music selection in analytical music listening – the guided fantasies method should be ex-
plicitly individualized process adjusted to the moment and the specific needs of individuals or
a group, and all elements in preparation and realization of sessions, should be considered in
the context of transfer and counter-transfer.
References
Aigen, K. (2008). An analysis of qualitative music therapy research reports: 1987-2006: Articles and book
chapters, The Arts in Psychotherapy 35: 251-261.
Benenzon, R. (1992). Theorie de la musicotherapie a partir du concept de l’ISO. Editions du non
verbal/A.M.BX.
Bruderer, MJ., McKinney M. & Kohlrausch, (2006a). Perception of structural boudaries in popular music.In
Proceedings of the 9th International Conference on Music Perception and Cognition (ICMPC9) Bologna
Italy, p. 157-162.
Grocke, Denise: (2007) A Structural Model of Music Analysis in Microanalysis in Music Therapy, Jessica
Kinglsley Publishers, London and Philadelphia, p. 149-161.
Lerdahl, F.& Jackendoff, R.(1983) A Generative Theory of Tonal Music, Cambridge, MA: MIT Press.
Radulovic, R. (1996).The using of music therapy in treatment of depressive disorders, Master Thesis, (1996)
University of Belgrade.
Radulovic,R., Pejovic (1997), M. Music and Depresson, Savremena administracija, Belgrade.
Radulovic, R. (2008).The prenatal roots of guilt – a role of intrauterine trauma in etiology of psychiatric and
psychosomatic disorders. Ed. Ljudi govore, Fasper, Belgrade.
Keywords: analytical music listening, guided fantasies, music selection, qualitative analysis,
receptive music therapy.
Ranka Radulovic. MD, PhD, psychiatrist and music therapist EMTC, supervisor and founder of
Association of Music Therapists of Serbia, representative of Serbia in GA EMTC; director of Ha-
torum – Music Therapy Centre, Belgrade (Serbia). ranka.radulovic@hatorum.com
12 | SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | SyMPOSIuMS & ROund TABlES | VIII European Music Therapy Congress
SyMPO SIuMS
nEW EVIdEnCE On MuSIC ThERAPy In rapy in the treatment of depression: Protocol for a randomised
controlled trial. BMC Psychiatry, 8(50).
MEnTAl hEAlTh – RESEARCh And
Gold, C. (2008). Effects of music therapy for prison inmates:
ClInICAl FIndInGS a pilot study [ISRCTN22518605].
http://www.controlled-trials.com/ISRCTN22518605/.
Gold, Christian, et al. - norway
Gold, C., Rolvsjord, R., Aaro, L. E., Aarre, T., Tjemsland, L., &
christian.gold@grieg.uib.no
Stige, B. (2005). Resource-oriented music therapy for psychia-
tric patients with low therapy motivation: protocol for a rando-
mised controlled trial [NCT00137189]. BMC Psychiatry, 5, 39.
Abstract
Gold, C., Solli, H. P., Krüger, V., & Lie, S. A. (2009). Dose-res-
Music therapy (MT) in adult mental health has a long ponse relationship in music therapy for people with serious
and strong clinical tradition, but strong clinical research mental disorders: Systematic review and meta-analysis. Clini-
has only started recently. 2010 is a special year for this cal Psychology Review, 27(3), 193-207.
field, in that three large-scale randomised controlled Keywords: evidence-based practice; serious mental
trials (RCTs) originating from Europe are about to be disorders; depression; prisoners; therapist effects.
completed: the Norwegian MT-PRIS, the Finnish depres-
sion RCT, and the international RCT-MTPSY. These stu- Christian Gold. PhD, Principal Researcher at Unifob
dies cover inpatients, outpatients, and prisoners, and Health, Bergen, Norway; Editor-in-Chief of the Nordic
will add significantly to the evidence base for MT. In MT- Journal of Music Therapy; adjunct professor at Aalborg
PRIS, group MT was offered to male prison inmates, 3 University, Denmark; private music therapy practice in
times a week, as long as they were in prison. Working Vienna. christian.gold@grieg.uib.no
modes were flexible and ranged from improvisation to Kjetil hjørnevik. MA. BA Hons. Music therapist at
songwriting and recording, with a psychodynamic frame Bjørgvin Prison, Norway. Studied music therapy at The
of reference. Outcomes of MT were compared to those Roehampton Institute, London. Has previously worked
of routine activities. In the Finnish depression RCT, indi- in the field of mental health in the UK.
vidual outpatient MT was offered twice a week, with a kjetil.hjornevik@kriminalomsorg.no
maximum of 20 sessions. MT was guided by psychody-
namic theory and focused on improvisation. MT was Jaakko Erkkilä. PhD, Professor of music therapy,
compared to standard care (mostly medication). In RCT- Jyväskylä, Finland; Head of the studies of Music The-
MTPSY, five psychiatric institutions in Norway, Austria, rapy Master's programme (UJy) and Music Therapy Cli-
and Australia offered biweekly individual MT specifically nical Training (Eino Roiha Institute); Researcher and
to those patients who showed little motivation for other member of the ExCo of the Finnish Center of Excellence
therapies. MT was guided by resource-oriented princi- in Inter-disciplinary Music Research.
ples, with flexible working modes. It was compared to jaakko.erkkila@campus.jyu.fi
standard care, which sometimes included intensive tre- Joerg Fachner. (PhD in medicine) Music therapy and
atment already. All studies measured symptom levels brain researcher on depression and stroke at the Cen-
and functioning. All included also some innovative as- tre of Excellence in Interdisciplinary Music Research,
pects, either in terms of how MT was described (improvi- Music Department, University of Jyväskylä, Finland.
sation analysis; therapeutic principles) or how outcomes jorg.c.fachner@jyu.fi
were measured (heart rate variability and electroencepha-
lography as indicators for depression). Together, more Esa Ala-Ruona. PhD, Assistant professor at Music the-
than 20 therapists worked with over 300 patients in these rapy clinic for research and training, University of Jyväs-
studies. The effectiveness of MT, as a largely interperso- kylä, Finland; Researcher in Finnish Centre of Excellence
nal process, may well depend on the personality and re- in Interdisciplinary Music Research.
lational styles of both therapist and client. A combination esa.ala-ruona@jyu.fi
of clinical case material and quantitative findings will Karin Mössler. PhD, Post Doc Fellow in Music Therapy
make this symposium relevant for clinicians and resear- at the University of Bergen, Grieg Academy Music The-
chers alike. rapy Research Centre (GAMUT). Formerly employed as
References music therapist at the Psychiatric Clinic Wagner-Jau-
regg Linz, Austria. karin.moessler@grieg.uib.no
Erkkilä, J., Gold, C., Fachner, J., Ala-Ruona, E., Punkanen, M.,
& Vanhala, M. (2008). The effect of improvisational music the-
SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | SyMPOSIuMS & ROund TABlES | VIII European Music Therapy Congress | 13
Inger Marie Karterud. Music Therapist at Stavanger Additionally, WFMT Officers and Commissioners will
Hospital trust, psychiatric division. Music therapist at contribute to this symposium by sharing their current
Stavanger school of culture. ikarte@broadpark.no projects and perspectives. Using live reports, video
clips, and PowerPoint tables/charts, each presenters’
denise Grocke. PhD, Professor and head of music the-
contribution will further develop an understanding of
rapy at the University of Melbourne, co-author of Re-
music therapy in other parts of the world. With this
ceptive Methods in Music Therapy (2007), and previous
symposium, the World Federation of Music Therapy
President of World Federation of Music Therapy.
would like to introduce the organization's work and
deniseee@unimelb.edu.au
begin a dialogue with European students, clinicians, re-
searchers, and educators for the global development
of music therapy.
MuSIC ThERAPy WORldWIdE: EXPlO-
RInG TREndS And ChAllEnGES In RE- References
WFMT (2009a). About WFMT. Retrieved September 19, 2009
SEARCh, PRACTICE, And EduCATIOn
from http://www.wfmt.info/WFMT/About_WFMT.html
Kern, Petra, et al. - uSA WFMT (2009b). Regional Liaisons’ Blog. Retrieved from the In-
president@wfmt.info ternet, September 19, 2009 from
http://www.wfmt.info/WFMT/Regional_Liaisons_Blog/
Regional_Liaisons_Blog.html
Abstract WFMT (2009c). Regional Information. Available in October
2009 at
Since the beginning of music therapy as a health pro- http://www.wfmt.info/WFMT/Regional Information_WFMT.html
fession, the field has come a long way. Students of WFMT (2009d). Commissioners’ Projects. Retrieved from the
music therapy take the opportunity to study abroad, Internet, March 24, 2009 from http://www.wfmt.info
professionals live and work in other countries of origin, XII World Congress of Music Therapy (2008). Congress Pro-
and the internet makes it possible to access works and ceedings. Buenos Aires, Argentina: Liberia Akadia Editorial.
communicate with colleagues around the globe. Addi-
tionally, as music therapists, we see clients from many Keywords: World Federation of Music Therapy, Rese-
different countries and backgrounds, which requires arch, Education, Clinical Practice, Current Projects.
cultural sensitivity and a diversified repertoire. There- Petra Kern. PhD currently serves as the President of
fore, modern music therapy is based on a global un- the World Federation of Music Therapy. Besides her
derstanding of our profession. work in early childhood, she is interested in the interna-
This symposium gives the opportunity to learn from the tional development of music therapy.
Regional Liaisons of the World Federation of Music The- petrakern@musictherapy.biz
rapy (WFMT) about current trends and challenges in Gene Ann Behrens is an associate professor and di-
music therapy research, education, and practice around rector of music therapy program at Elizabethtown Co-
the world. The experts will bring firsthand knowledge, ex- llege, USA. She is interested in research methodology
periences, and perspectives to this event and describe and research pertaining to emotional meaning in music
the current status of music therapy in Africa, Australia/New and trauma. behrenga@etown.edu
Zealand, North America, Latin America, Southeast Asia,
Western Pacific, Eastern Mediterranean, and Europe. Simon Gilbertson. PhD serves as the regional Liaison
for Europe. He is the Assistant Course Director of the
It is the presenters’ intention to bring alive their region MA in Music Therapy, Irish World Academy of Music
of the world by reporting about: and Dance and Associate Director of the Music and He-
• Demographics such as numbers of certified music alth Research Group, University of Limerick, Ireland.
therapists. Annie heiderscheit. PhD is on the graduate faculty at
• Work settings and populations served. the University of Minnesota’s Center for Spirituality and
Healing and is a clinical music therapist at The Emily
• Music therapy approaches and clinical examples. Program and the University of Minnesota’s Children’s
• Key findings of research done in their region and re- Hospital. heide007@umn.edu
search projects that are underway. Jörg Fachner. PhD is as senior researcher at the Fin-
• Current undergraduate and graduate programs avai- nish Centre of Excellence in Interdisciplinary Music Re-
lable. search at the University of Jyväskylä in Finland and
currently serves as the Publication chair of the WFMT.
• Specific trends and challenges for research, educa- jorg.c.fachner@jyu.fi
tion, and practice.
Patricia Sabbatella. PhD currently serves as the WFMT
• Future directions, perspectives, and their personal vi- Education, Training, and Registration Chair. She is di-
sion. rector of the music therapy program at the University of
14 | SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | SyMPOSIuMS & ROund TABlES | VIII European Music Therapy Congress
Cádiz, Spain and the Instituto Politécnico do Porto, Por- sease. Archives of Physical Medicine & Rehabilitation, 86 (5),
tugal. patricia.sabbatella@uca.es 999-1006.
Thaut MH. Rhythm, Music and the Brain: Scientific Foundations
Byungchuel Choi, PhD. Director of the Graduate
and clinical Applications: Taylor & Francis Books Ltd, 2005.
School of Music Therapy at the Sookmyung Women’s
Thaut, M.H., McIntosh, G.C., Rice R.R., & Prassas, S.G.
University in Seoul Korea. He currently serves as the
(1993): The effect of auditory rhythmic cueing on stride and
President of the KMTA, WFMT Government Accredita-
EMG patterns in hemiparetic gait of stroke patients. Journal of
tion Chair and organizer of the XIII World Congress of Neurologic Rehabilitaion, 7, 9-16.
Music Therapy.
Thaut, M.H., Hurt, C.P., Dragan, D. & McIntosh, G.C. (1998b):
Rhythmic entrainment of gait patterns in children with cerebral
palsy. Developmental Medicine and Child Neurology, 40 (78), 15.
APPlICATIOnS OF nEuROlOGIC Keywords: Neurologic; Training; Rythmic Auditory Sti-
MuSIC ThERAPy WITh PAEdIATRIC mulation.
And AdulT POPulATIOnS: EuROPEAn
Wendy Magee. PhD NMT-F, postdoctoral fellowship in
dEVElOPMEnTS Music Therapy, widely published author and researcher.
Magee, Wendy, et al. - uK She organized the first International Training Institute in
NMT to be held in Europe in 2009.
drwmagee@rhn.org.uk
drwmagee@rhn.org.uk
Eirini Alexiou. BA(Music), Post-Grad. Dipl in Music
Abstract Therapy. Currently works at the Royal Hospital for Neu -
ro-disability, London, with adult patients with acquired
A challenge of the modern therapy work place is to un-
brain injury and Huntington’s disease.
derstand the evidences underpinning good practice,
ealexiou@rhn.org.uk
and apply methods that have been researched and are
known to be effective. Neurologic Music Therapy (NMT) Anna Bukowska. MSc. Polish physiotherapist and mu -
methods have developed from scientific knowledge sic therapist working in neurology (Votum RehaPlus-
founded in research into music perception and the Functional Rehabilitation Clinic, Krakow). Trained in NMT
physiological effects of music on human behaviour. in London. PhD student, University School of Physical
NMT is drawn from the understanding of how the brain Education, Krakow. aniabookowska@yahoo.com
responds to music and the effects of music on non-mu-
ludwika Konieczna. Music therapist working with abu-
sical behaviours and functions.
sed children; assistant lecturer at Academy of Music,
In 2009, NMT training was offered for the first time in Eu- Katowice, Poland; studied MT and theory of music in
rope. This symposium will offer clinical presentations de- Poland and USA. lkonieczna@yahoo.com
monstrating NMT in a range of clinical settings with adult
Stefan Mainka, Dipl. Musikth, NMT-F works in a hospi-
and paediatric populations in Poland, Northern Ireland,
tal for Neurologic Rehabilitation in the near of Berlin,
Germany and England. Clinical populations include ac-
Germany. He specialises in sensorimotor and speech
quired traumatic brain injury; Cerebral Palsy; stroke, Par-
training with people with Parkinson’s disease.
kinson’s Disease, Huntington’s disease, Spinal Cerebellar
mainka@reha-musik.de
Ataxia. Using the three primary domains of techniques
across cognition; speech and language; and sensori- Kathrin Mertel. MM, NMT-F Diplom-Music Therapist.
motor functioning, the presentation will provide clinical Applies NMT in neurological rehabilitation with children
examples of using NMT to improve functional outco- and young adults, Germany. Instructor, Institute of MT,
mes. Clinical case studies will illustrate the range of Berlin. Fellow, Robert F. Unkefer Academy for NMT.
techniques in each domain, and the use of widely avai- kathrinMertel@gmx.de
lable standardized measures to demonstrate functional
Alex Street. Works at the Child Development Centre,
change. The presentation will include a discussion on
Bedford and Headway East London. He uses music
future developments for expanding the practice of NMT
software, song writing and improvisation techniques,
in Europe including networks and interest groups.
as well as NMT and psychodynamic approaches.
References alexstreetuk@yahoo.com
Pacchetti C, Mancini F, Aglieri R, Fundarò C, Martignoni E,
Nappi G. Active music therapy in Parkinson's disease: an in-
tegrative method for motor and emotional rehabilitation.
Psychosomatic Medicine 2000;62:386-393.
Rouchester, L., Hetherington, V., Jones, D., Nieuwboer, A., Wi-
llems, A.M., Kwakkel, G., &Van Wegen, E. (2005): The effect
of external rhythmic cues (auditory and visual) on walking du-
ring a functional task in homes of people with Parkinson’s di-
SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | SyMPOSIuMS & ROund TABlES | VIII European Music Therapy Congress | 15
R O u n d TA B l E S
ThE BEnEnZOn'S MOdEl OF MuSIC diana Cappadozzi. Music Therapist, Magister and Su-
ThERAPy: ThEORy And PRACTICE In pervisor of Benenzon’s Model of Music Therapy. Chair
of the Spanish Benenzon Centre of Music Therapy.
EuROPE
dianacappadozzi@gmail.com
de Michele, Renato, et. al - Italy
Patricia Sabbatella. PhD currently serves as the WFMT
demikar@alice.it Education, Training, and Registration Chair. Magister
and Supervisor of Benenzon’s Model of Music Therapy.
Abstract She is director of the music therapy program at the Uni-
versity of Cádiz, Spain and the Instituto Politécnico do
In the last years this model has been enriched by con- Porto, Portugal. patricia.sabbatella@uca.es
tributions coming from psychology, psychotherapy,
medicine, neurology, psychiatry, philosophy. These con- Margarida Moreira da Rocha is teacher of Music Educa -
tributions make this model a dynamic construction in tion. She has worked with children, adolescents with spe-
continuous evolution. The constitutive premises at the cial needs and adults with disabilities for twenty years.
base of the Benenzon Model of Music Therapy remain Since qualifying in 1995, she has worked, also, as a music
anchored on the concept of ISO, but its complexity, al- therapist in Musiké-Oporto. She collaborates with ESE-IPP,
ways greater and in continuous evolution, imposes a as an invited teacher. Master of Psychology of Music, she
discussion on the state of the art, both for the theoretical is PhD student. margaridarocha68@gmail.com
and the clinical-application parts.
The objective of this Round Table is to discuss around
the current status of the Model elaborated by Rolando MuSIC ThERAPy WITh yOunG
O. Benenzon, one of the five models recognized by the PEOPlE: MAPPInG InTERnATIOnAl
World Federation of Music Therapy. The debate explo-
PRACTICE BETWEEn SChOOl And
res: a) Similarities and/or of difference with other Music
Therapy models , b) Connections of the Model with the
COMMunITy
evidence based medicine, research and training? And Elefant, Cochavit, et. al - norway
c) geographical areas of application: Is it always true
cochavit.elefant@grieg.uib.no
that in Europe the model is essentially applied in the
South, or in the «Latin» countries, and why?
References Abstract
Benenzon, R.O. (2007). The Benenzon Model, Nordic Journal There is a long tradition of music therapy practice in
of Music Therapy , 16(2) 2007, pp. 148-159. special education around the globe. More recently,
Benenzon, R.O. (1999). Musicoterapia, Esperienze di Super- there appears to have been a decline in interest in the
visione. Roma: Phoenix. field, with fewer publications and limited development
Benenzon, R.O. (2007). La parte dimenticata della personalità. of theory. Approaches that were originally developed
Roma: Borla. for work with young people in schools have evolved to
Benenzon, R.O., De Gainza, V.H. & Wagner, G.(1998). La include broader foci - such as the evolution of creative
nuova Musicoterapia. Roma: Phoenix. music therapy (Nordoff & Robbins, 1977) into music-
Keywords: Benenzon, Model, Iso principle, Evidence, centered (Aigen, 2005) and community music therapy
Training. (Pavlicevic & Ansdell, 2004). In the meantime, the ways
that music therapists practice with young people has
Renato de Michele. Music Therapy Supervisor. WFMT, remained steady while society’s needs have changed.
Commission on Clinical Practice Member. AIReM Pre-
sident (Ital. MT Register Ass.). Magister and Supervisor This roundtable discussion will be hosted by two spe-
of Benenzon’s Mode of Music Therapyl. cialists in music therapy practice with young people in
demikar@alice.it both school and community settings who have publis-
hed internationally - (Elefant & Wigram, 2005; McFerran
Pietro Vitiello. Music Therapist, singer, professor and & Stephenson, 2006). The purpose of the roundtable
supervisor in the Music Therapy training. Magister and will be to openly discuss current practice with an em-
Supervisor of Benenzon’s Model of Music Therapy. phasis on the challenges faced in doing music therapy
Music Therapist focusing on psychiatric rehabilitation with young people who have disabilities and disorders.
and on children with developmental disability. Since The six professionals will discuss discrepencies in the
1988 he leads workshops on the perceptive and psy - perspectives held by music therapists and the systems
codynamic aspects of the non-verbal communication, in which they work with young people. Each presenter
both bodily and vocally. pietrovit@virgilio.it will elaborate on the needs of the school or community
SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | SyMPOSIuMS & ROund TABlES | VIII European Music Therapy Congress | 17
settings that host their work and how this is congruent, schools and with children and adolescents with emo-
or conflicts with their own vision for music therapy prac- tional and behavioural difficulties. She set up and esta-
tice. Specific topics to be addressed include an elabo- blished work at a mainstream secondary school which
ration on the types of young people receiving music is now a permanent post and includes work with the
therapy, as well as the format of sessions. The audience school's hearing-impaired students. She is currently in-
will be asked to engage in discussions on these topics, vestigating the effectiveness of music therapy for young
sharing their own expertise and current practice. people at risk of under-achieving and exclusion, to-
wards her PhD, which is funded by the Music Therapy
The presenters contend that it is an opportune time for
Charity. Email: pderrington@cvcweb.net
growth in the theory, practice and research of music
therapy with young people. A stimulating breadth of Jinah Kim Phd, completed her doctoral dissertation at
therapeutic potential exists in this work, canvassing di- the University of Aalborg, Denmark on the topic of joint
verse foci from communication and behaviour to attention behaviours with children with Autism and has
psychotherapy and performance. This forum will show- worked extensively in Schools, hospitals and the com-
case that potential. munity rehabilitation centres both in the U.K and Korea.
She has published in a range of refereed national and
References
international journals and presented internationally.
Aigen, K. (2005). Music-centered music therapy. Gilsum, NH:
jinahkim@jj.ac.kr
Barcelona Publishers.
Elefant, C., & Wigram, T. (2005). Learning ability in children with
Rett syndrome. Brain and Development, 27((Suppl.1), 97-101.
MuSIC ThERAPy And GlOBAl CRISIS:
McFerran, K., & Stephenson, J. (2006). Music therapy in spe-
cial education: Do we need more evidence? British Journal of
PREPAREdnESS, RESPOnSES, RElIEF
Music Therapy, 20(2), 121-128. And RECOVE
Nordoff, P., & Robbins, C. (1977). Creative music therapy. New
Magill, lucanne, et al. - Canada
York: The John Day company.
lucannem@uwindsor.ca
Pavlicevic, M., & Ansdell, G. (Eds.). (2004). Community Music
Therapy. London: Jessica Kingsley Publishers.
will be explored by the panel members. In addition a Re- mat and activity, but a description that points in the
source Manual and Training Guide will be reviewed. direction of how we could understand music’s help in
a contextual perspective. The powers of musicing
References
emerge from the bonding and bridging of communities
Gao T. Music Therapy and Crisis Intervention with Survivors of
of practice. Music is a superb medium for expression,
the China Earthquake of May 12, 2008 http://www.chinamu-
but more importantly collaborative musicing enables
sictherapy.org/html/data/en/a38.html
people to act and interact in ecologies that may build
Loewy JV & Frisch Hara A (Eds). (2002). Caring for the Care-
hospitable environments where they can grow and
giver: The Use of Music and Music Therapy in Grief and
enjoy. These claims build upon the results of an inter-
Trauma. American Music Therapy Association.
national research project on Community Music The-
Magill L (2009). Music therapy global care: Responding to the
rapy, with eight ethnographically informed case studies
crises in the world of today. Healing Within: The Music Therapy
from South Africa, Israel, England, and Norway. Resear -
Journal of Care across the Lifespan (in press).
chers discuss some of the synthesis that they have de-
Stewart K (Ed). (in press). Music Therapy & Trauma: Bridging
veloped on the basis of the various case studies. The
Theory and Clinical Practice. NY: Satchmo Press.
theoretical ideas will be illustrated by examples from the
Sutton, JP (Ed) (2002). Music, Music Therapy and Trauma.
various case studies, which show how musicing may
London: Jessica Kingsley Publishers LTD.
help people find their voice (literally and metaphori-
Keywords: crisis, trauma, disaster, well-being, music cally); to be made welcome and to welcome others; to
therapy. be accepted and to accept; to be together in different
and better ways; to project alternative messages about
lucanne Magill. D.A., MT-BC, Assistant Professor, Uni-
themselves or their community; to feel respected and
versity of Windsor, has 35 years of clinical experience
to give respect; to connect with others beyond their im-
working in cancer, palliative care and grief, has publis-
mediate environment; to make friendships and create
hed and lectured internationally, has conducted rese-
supportive networks and social bridges; and, quite
arch and provides training and education. She is Chair,
simply, to generate fun, joy, fellowship, and conviviality
Global Crisis Intervention, WFMT.
for themselves and their communities.
lucannem@uwindsor.ca
References
Sumathy Sundar. Ph.D. is a classical vocalist, a psy-
Pavlicevic, M. & Ansdell, G. (eds) (2004). Community Music
chologist and a music therapist clinician. She has re-
Therapy. London: Jessica Kingsley Publishers.
searched on music therapy in oncology for the Ph. D
degree. She is Technical Advisor, Nada Centre for Mu- Pavlicevic, M. & Ansdell, G. (2009). Between Communicative
Musicality and Collaborative Musicing. In: Malloch, S. & Tre-
sic Therapy, Chennai, India and is WFMT Regional Liai-
varthen, C. (eds), Communicative Musicality. Oxford: Oxford
son for South East Asia.
University Press.
sumusundaresan@yahoo.co.in
Stige, B. (2002). Culture-Centered Music Therapy. Gilsum, NH:
Alpha Woodward. BMT, MMT, MTA, Governance Barcelona Publishers.
Committee, Capilano University Alumni Board of Direc- Stige, B., Ansdell, G., Elefant, C. & Pavlicevic, M. (2010).
tors. She has 18 years experience facilitating systems Where Music Helps. Community Music Therapy in Action and
change in institutional settings (Canada) and post-con- Reflection. Aldershot, UK: Ashgate.
flict regions in Bosnia/Herzegovina. She is currently a Wenger, Etienne (1998). Communities of Practice: Learning,
PhD student, Antioch University, USA. Meaning and Identity. New York: Cambridge University Press.
alphabytheriver@gmail.com
Keywords: collaborative musicing, ecology, resource-
Gene Ann Behrens, PhD, MT-BC, Associate Professor orientation, participatory approach.
and Director of Music Therapy at Elizabethtown Co-
Mini biography of presenters. Researchers presen-
llege, USA, is involved in research in the areas of trau-
ting in this symposium have collaborated in the rese-
ma stress and emotional coping skills.
arch project «An Explorative Study of Community Music
behrenga@etown.ed
Therapy», funded by the Research Council of Norway
and performed over a period of four years (2004-2008):
WhERE MuSIC hElPS – FROM WIThIn Brynjulf Stige has worked with various Community
COMMunITIES OF PRACTICE Music Therapy practices in the Norwegian context since
Stige, Brynjulf et al. - norway the early 1980s and is currently writing a textbook on
Community Music Therapy with the community psycho-
brynjulf.stige@grieg.uib.no logist Leif Edvard Aarø. brynjulf.stige@grieg.uib.no
Cochavit Elefant introduced Community Music Thera-
Abstract py perspectives in the Israeli context and has taught
Community Music Therapy practices entail collabora- and worked as a music therapist for many years.
tive musicing. This is not just a formal description of for- cochavit.elefant@grieg.uib.no
3.2.3. PaPers
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 21
Wigram, T., Nyygaard-Pedersen, I. & Ole-Blond, L. (2004). A tative research studies will be discussed. By exploring
Comprehensive Guide To Music Therapy: Theory, Clinical Prac- professional and personal journeys as music therapists
tice, Research and Training. London and Philadelphia: Jessica and participants in the artistic research process, I plan
Kingsley Publishers, 2nd edition. to highlight the strengths and challenges of this appro-
Hanser, S. (1999). The New Music Therapist’ s Handbook. Bos - ach, how it shapes the research process and findings,
ton, USA: Berklee press, 2nd edition. and its potential for emergent understandings through
Alvin, J., Warwick, A., (1991). Music Therapy for the Autistic the arts.
Child. Oxford, University Press, 2nd edition.
references
Keywords: clinical improvisation, musical behavior, Austin, D. & Forinash, M.(2005). Arts-based research. In B.
musical relationship, musical synchronization. Wheeler (Ed.), Music therapy research (2nd ed.), (pp. 458-
471). Gilsum, NH: Barcelona.
yiota andreopoulu. BA musical studies, MA music
therapy. Private music therapist in Patras, Greece, spe- Edwards, Jane (2006). Thresholds between practice and re-
cialized in autism, learning disabilities, and personal search – Thinking about Susan Melrose's notion of 'Signature
development. Music educator at ages 3-7 at local con- Practitioner'. Voices: A World Forum for Music Therapy. Retrie-
ved from http://www.voices.no/columnist/
servatoires. yiota_andreou@yahoo.gr
coledwards300106.html
Finley, Susan (2005). Arts-based Inquiry: Performing revolutio-
nary pedagogy. In Norman K. Denzin & Yvonna S. Lincoln
(Eds.), The SAGE Handbook of Qualitative Research (3rd Ed.),
MoVeMeNt toWarDs chaNGe IN
(pp. 681- 694). Thousand Oaks, CA: Sage.
arts-BaseD IMProVIsatIoNaL
Keywords: Arts-based qualitative research, improvisa-
MUsIc theraPy research
tion.
arnason, carolyn - canada carolyn arnason, DA, MTA, Associate Professor, Wil-
carnason@wlu.ca frid Laurier University, specializes in teaching improvisa-
tion and arts-based qualitative research. Her particular
research interest is the improvisational experience and
abstract musicianship in therapeutic and performance contexts.
Arts-based research seems like a natural fit for music carnason@wlu.ca
therapists conducting qualitative studies. As musicians,
we experiment all the time. We are familiar with the
practice of interpreting musical scores. These «musical
scores» can be read as «texts» that portray particular hoW receNt research aND
compositional and personal narratives. In a research theory oN traUMa stress
context, these «scores» or «texts» are artful data forms reLates to MUsIc theraPy
that (with time) reveal signs (evidence) of ways to know.
From this perspective, the practice of exercising our Behrens, Gene ann - Usa
skills as musicians, and bringing the arts into play as behrenga@etown.edu
researchers, begins to sound less radical.
Austin and Forinash (2005) discuss that the use of ima-
abstract
gery and metaphoric analysis «help[s] researchers
bridge the conscious and unconscious worlds in order Recent research and theory on trauma stress suggest
to access new insights and deepen the understanding that individuals with unresolved trauma respond with
of the data» (p. 460). Edwards (2006) suggests «that in heightened emotions that are difficult to control, often
our research endeavours we may have collectively avoi- because they have not integrated sensory and emo-
ded the delight of the inexplicable, the creative unkno- tional responses related to the trauma experience (van
wing, the potentials that exist in the unformed parts of der Kolk, 2006). As health care professionals have ob-
our informed ideas...» [online]. Finley (2005) brings in served for years, these people often respond to triggers
a dimension of activism when she states that «art is with uncontrolled, emotional responses as if they are
equal to, and may be at times more suitable than, reliving their traumatic experiences.
science for moving people to action and advancing
As therapists continued to work with individuals dealing
human understanding» (p. 686).
with Post Traumatic Stress Disorder (PTSD) since it was
This presentation will focus on the work of researchers first diagnosed in 1980, they engaged these individuals
who study the improvisational experience and human in talking therapy to help them gain insight concerning
relationships with the company of artistic media. Dra- their traumatic experience. However, more recent re-
wing on arts-based research studies conducted in Ca- search suggests that talking therapy only creates situa-
nada, this presentation weaves together narratives with tions in which the individuals re-experience their traumatic
common themes. Examples of art forms used in quali- responses. Due to their unresolved and uncontrolled
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 23
Papakostas GI (2008). Tolerability of modern antidepressants. In particular, the importance of the father involvement in
J Clin Psychiatry 69:8-13. gestation and a considerable reduction in labour en-
Paykel, E.S., T. Brugha & T. Fryers (2005). Size & Burden of durance and in the need of pharmacological treatment
Mental Disorders in Europe. Neuropsychopharmacology, were pointed out in relation to the use of voice and singing.
15(4):411-423.
Keywords: pregnancy, delivery, voice, singing, support.
Keywords: Depression, Receptive Music Therapy, Cli-
nical Trial. Giovanni casanova. Music therapist, choir conductor
and vocal coach; research interests focus on music
Vera Brandes is Director of the Research Program Mu- therapy support and training for neurological and psy-
sicMedicine at the Paracelsus Medical University Salz- chiatric patients and couples during pregnancy and de-
burg, Austria and Vice-President of the International livery. giocasanova08@gmail.com
Association for Music and Medicine IAMM.
vera.brandes@pmu.ac.at
abstract
abstract
Introduction: dementia syndromes are generally incu-
Voice and singing have always played a central role in rable. People with dementia may become highly depen-
the rituals and practices related to pregnancy and de- dant and require hospitalization. Besides the traditional
livery. For several years, Music Therapy has been offer- forms of medical treatment, there is now an increasing
ing its own original contribution to this field, heading for use of complementary approaches aimed at reducing
two directions: a) To support the couple during preg- the severity of certain symptoms, enclosed those con-
nancy and to provide early care for the baby, and b) To nected with cognitive deterioration. The Sound Training
provide the mother and her unborn child with an impor- for Attention and Memory (STAM) protocol, found to be
tant resource during labour and delivery. effective in the cognitive rehabilitation of schizophrenic
Music Therapy, more and more acknowledged as a subjects presenting cognitive deficits, has been re-
complementary discipline in health care, constantly adapted to allow for its use with elderly subjects affected
looks for a language to approach the scientific and by dementia, including subjects who are not self-suffi-
medical world with its own artistic and relationship- cient.
based dimension. The investigation conducted by the Aim: to verify the effectiveness of this version of the
Italian music therapist Giovanni Casanova moved this STAM with the subjects indicated.
way, posing the following questions:
– Do voice and singing within the couple, during pregnancy, Method: a multi-centre study involving the participation
constitute a means of support and communication to the of five different health-care facilities and including 80 pa-
unborn child and a way of facilitating future family life? tients with diagnoses within the dementia spectrum (from
– Can voice and singing be a resource for the mother and the mild to moderate). At each centre, a single-blind, rando-
foetus during labour and delivery? mised and controlled trial (RCT) will be carried out, in
which the patients of the experimental group will partici-
The investigation, carried out at the San Raffaele Hos-
pate in the STAM protocol (besides receiving standard
pital in Milan, involved mothers and fathers participating
care) and those of the control group will receive the rou-
in courses of guidance to birth: a study test group of
tine «standard care» performed at each centre. The treat-
120 couples received music therapy training, while fur-
ment cycle will provide for 24 sessions lasting 50 minutes
ther 120 couples constituted the control parallel group.
each (with two meetings per week). For each group, pre-
Identical questionnaires were administered to both post evaluation (and a follow up after two month) with
groups and other specific questionnaires were admin- neuropsychological tests will include administration of the
istered to the obstetricians attending the delivery. Mini Mental State Examination, the Geriatric Depression
The analysis of the data, obtained by overlapping the Scale, the Geriatric Music-Therapy Profile, the Cohen
answers to the questionnaires and the clinical evidence Manfield Agitation Inventory, the Spinnler and Tognoni At-
from the delivery graphs, provided positive and stimu- tention Matrix test and the Orsini Memory Span test.
lating responses.
26 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress
The experiences on children with attention and hyperac- The emphasis in the health service is on quantitative re-
tive problems, have shown how these methods of sen- search which demonstrates through an objective kno-
sory integration between sound, movement and colour wledge base and statistical measurement whether an
can increase learning abilities and control processes, intervention is clinically and cost-effective. Towards
favouring a more complete metacognitive development. achieving this, a treatment manual has been written.
Children indeed increase interesting, autonomy, ability The presentation will demonstrate how a rigorously de-
for analysis and problem solving with a rising time of in- veloped manual is central to the valid testing of the tre-
volvement, thanks to the redesigning of their creativity atment under investigation.
and their analogical languages. It results that this inte-
However, a dilemma between quantitative methodology
grated method is important not only to plan a better man-
and qualitative components of the research are raised
agement of hyperactivity, but for a preventive education
when accessing the meaning and significance of the
where often the identifying of several behaviour disorders
unconscious and the transpersonal aspects of treat-
is induced by environmental conditions instead.
ment. One may question whether these deeper areas
Keywords: attention, hyperactivity, integration, synaes- of the psyche are identifiable and measurable. Qualita-
thesia, metacognitive. tive methodology such as grounded theory and dis-
course analysis will be considered in this respect as
claudio cominardi. Engaged in research projects for
well as the active involvement of the principal investi-
interculture and prevention of social discomfort in sev-
gator in data collection. Discussion is invited in how the
eral schools and social services, studying new forms of
non-verbal aspects of treatment are defined and taken
expressive languages and analogical mediators aimed
into account.
to integration. c.cominardi@tiscalinet.it
references
Campbell, M. Fitzpatrick, R. Haines, H. Kinmonth, AL. Sander-
cock, P. Speglehalter, D. Tyrer, P. (2008). Framework for design
orchestratING chaNGe: the and evaluation of complex interventions to improve health.
BMJ Vol. 321 16th September 2008 p694-696. www.bmj.com
DeVeLoPMeNt, MaNUaLIsatIoN aND
| http://resources.bmj.com/bmj/subscribers
eVIDeNce For coGNItIVe aNaLytIc
Compton Dickinson, S J. (2006). Beyond Body, Beyond
MUsIc theraPy Words: Cognitive analytic music therapy in forensic psychiatry-
New approaches in the treatment of personality disordered of-
compton, stella
fenders Music Therapy Today ( Online December 22nd) Vol.
stella.comptondickinson@googlemail.com V11 (4) 839-875. http://musictherapyworld.net
Lawday, rebecca - UK Duggan, C. et al. (2007). A Systematic Review of the Effecti-
veness of Pharmacological and Psychological Treatments for
those with Personality Disorder. Nottinghamshire Healthcare
NHS Trust Institute of Mental Health.
abstract
Linehan, M. (1993). Dialectical Behavioural Therapy. Skills Trai-
In the United Kingdom National Health Service there are ning Manual.
increasing demands for evidence-based, cost-effective Ryle A and Kerr I.B. (2002). Introducing cognitive analytic the-
treatments. In secondary forensic healthcare these are rapy. Principles and practice. John Wiley and Sons Ltd. Chi-
developed and delivered within robust multi-disciplinary chester UK.
treatment programmes. The recipients of treatment, par- Keywords: Manualisation, Research Methodology,
ticularly as they are kept in conditions of social constraint cognitive, analytic.
in secure treatment settings, are entitled to expect prac-
titioners to be acting on strong and positive evidence. stella compton has developed manualised cognitive
analytic music therapy in forensic psychiatric settings.
The model that the author will describe is called Group Doctoral studies are registered with the Health Service
Cognitive Analytic Music Therapy (G-CAMT), (Compton and population research department at the Institute of
Dickinson 2006). This is a novel, context-specific foren- Psychiatry. Research Lead: Arts Therapies. Notting-
sic model of music therapy, designed for the treatment hamshire Healthcare NHS Trust. stella.comptondickin-
of offenders. G-CAMT is a ‘complex intervention’ as de- son@googlemail.com
fined by the Medical Research Council (bmj.com 2008).
This model is cited in the department of health docu- rebecca Lawday. Forensic Psychologist. Arnold
ment: New Ways of Working for allied healthcare pro- Lodge Medium Secure Unit. Nottinghamshire health-
fessionals. The paper will trace the development of care NHS Trust.
G-CAMT from modelling to piloting stages; how this
has been implemented; the framework for evaluation,
and the methodology for the forthcoming randomised
controlled trial.
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 29
tor of the Arts and Quality of Life Research Center at traumatic experience of sexual abuse. Music Therapy Perspec-
Temple University, Philadelphia. tives, 22 (2), 96-103.
Flam, G. (1992). Singing for survival - Songs of the Lodz ghetto
Joke Bradt is the Assistant Director of the Arts and
1940-45. Chicago: University of Illinois - Urbana Press.
Quality of Life Research Center and an Adjunct Profes-
Gilbert, S. (2005). Music in the holocaust: Confronting life in
sor in Music Therapy at Temple University.
the Nazi ghettos and camps. Oxford: Oxford University Press.
cdileo@temple.edu
Moreno, J. (1999). Orpheus in Hell: Music and therapy in the
holocaust. The Arts in Psychotherapy, 26, 3-14.
Smith, J. A., & Osborn, M. (2003). Interpretative phenomeno-
logical analysis. In J. A. Smith (Ed.), Qualitative psychology
the PoWer oF MUsIc aMoNGst
(pp. 51-80). Wiltshire: Cromwell.
hoLocaUst sUrVIVors DUrING WWII:
Keywords: Holocaust survivors, conspiracy of silence,
IMPLIcatIoNs to MUsIc theraPy
«self therapy», qualitative research, interviews.
Fisher, atarah - Israel
atarah Fisher is a music therapist with 17 years of ex-
michaelatarah@gmail.com perience mainly with severe retardation, non-verbal
Gilboa, avi - Israel autistic adolescents. She also has 7 years of experien-
gilboaa@mail.biu.ac.il ce as a lecturer. michaelatarah@gmail.com
avi Gilboa. PhD is a music therapist and an experimen-
tal psychologist. He has clinical experience working with
abstract
autistic children and children in hospitals. His fields of
The goal of this presentation is to present a study in research include music and emotions and social and
which we examine the role of music for Holocaust sur- cultural aspects of music. He is currently a lecturer in
vivors, during and after the Second World War and to the Music Therapy Program at Bar-Ilan University, Israel.
highlight the implications of this study to the field of gilboaa@mail.biu.ac.il
music therapy. In the study, seven Holocaust survivors,
between the ages 73-95, were interviewed; some were
professional musicians while others were amateurs. The FroM the FIN De sIècLe UNtIL
interviews were analyzed according to Interpretative
NoWaDays. MUsIc theraPeUtIc
Phenomenological Analysis (Smith & Osborn, 2003).
theory coNstrUctIoN IN VIeNNa
Results were divided into five chronological periods
(prior to the war, the outset of the war, during the war, Fitzthum, elena - austria
the aftermath of the war, and present day) and it was Mössler, Karin - austria
found that in each period music helped the survivors to karin.moessler@grieg.uib.no
cope with their traumatic experiences in different ways.
During the war, for instance, music served as a means
of «self therapy» since it helped the survivors to con- abstract
centrate on the «normal» and to escape their traumatic
Theory construction is the centrepiece of a music thera-
experiences. Through music, survivors could also raise
peutic school determining its theory, practice, research
the morale of their co-internees and to, thus, form and
style as well as its professional jargon. The historical
preserve social networks.
conditions at the beginning of the 20th century in Eu-
Results of this study have implication to the field of music rope and the Viennese music therapy training, which
therapy. First, this is an outstanding demonstration of the has been existing since 1959, provide the research con-
power of music in the most difficult traumatic situations. tinuum for investigating exemplarily music therapeutic
Distraction from the surroundings, raising the morale, theory construction. Two historical research projects
and giving a sense of humanity are all objectives which have examined processes of theory construction within
could and are implemented in music therapy. Second, the institutional setting of the training course (Mössler,
findings showed that music helped the survivors to over- 2008) as well as the pre-institutional theoretical sources
come the «conspiracy of silence» (i.e., the tendency to (Fitzthum, 2003). On the basis of literature analysis,
avoid mentioning their traumas). Such information might semi-structured interviews and a survey four phases of
be of great value to therapists treating post traumatic theory construction can be defined and described. This
clients. It is also of interest to discuss the borders of development, which took more than 100 years, corres-
music therapy and its definitions in light of the so called ponds to the sequence of four generations. Further-
«self therapy» that was documented in this study. more it depicts the process of a school development
model.
references
Amir, D. (2004). Giving trauma a voice: The role of improvisa- Based on the presented Four-Phase Model the au-
tional music therapy in exposing, dealing with and healing a dience will be invited to discuss similarities and/or dif-
32 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress
ferences of theory construction processes regarding tervention of Music Therapy and a group without. The
their own music therapy trainings. It can especially be client groups of this research are institutionalized well eld-
questioned whether newly emerging music therapy trai- erly. To probe their conceptions a Carol Ryff’s Scale of
nings can start from an advanced level of the Phase Psychological Well-Being was applied to the two groups.
Model, or whether every training course has still to work
Method: An experimental group is formed of 7 individ-
through all four phases.
ual living residents. Each participant receives 11 music
references therapy group sessions in a period of 3 months. In each
Fitzthum, E. (2003). Von den Reformbewegungen zur Musik- session were applied improvisation experiences and re-
therapie. Die Brückenfunktion der Vally Weigl. Wiener Beiträge ceptive experiences. Comparisons with these two
zur Musiktherapie (Vol. 5). Vienna: Edition Praesens. groups demonstrate higher levels of Psychological
Fitzthum, E. (2008). Musiktherapierelevante Entwicklungen vor Well-Being with first group.
1938. Die frühen Quellen der Musiktherapie, 20 Jahre der inne-
references
ren und äußeren Emigration sowie Transferleistungen auf dem
Weg zur Institutionalisierung im Jahr 1958. [Relevant develop- Aldridge, D., (1996). Music therapy Research and Practice in
ments to music therapy before 1938]. Deutsche Musiktherapeu- Medicine: From Out of the Silence. Jessica Kingsley Publishers.
tische Gesellschaft e. V. (DMtG). Jahrbuch Musiktherapie. Music Bright, R., (1993). Trabajo grupal en musicoterapia. In Bonum
Therapy Annual (Vol. 4). Wiesbaden: Reichert. (Eds.), La musicoterapia en el tratamiento geriátrico: una nueva
Jürgens, P. (2007). Geschichte der ostdeutschen Musikthera- visión (pp. 63-78) . Buenos Aires.
pie. Entwicklung - Selbstverständnis - gesellschaftspolitischer Peters, J., (2000). Music therapy: an introduction. Charles Tho -
und wissenschaftstheoretischer Kontext. [History of East Ger- mas Publishers, USA.
man music therapy]. Frankfurt/Main: Peter Lang. Ryff, C., (1989a). Beyond Ponce de Leon and Life Satisfaction:
Mössler, K. (2008). Wiener Schule der Musiktherapie. Von den New directions in quest of Successful Ageing. International
Pionieren zur Dritten Generation (1957 bis heute). Wiener Bei- Journal of Behavioral Development, 12 (1) 35-55.
träge zur Musiktherapie (Vol. 8). Vienna: Edition Praesens. Wigram, T., Pedersen, I. & Blonde, L., (2002). A Compreensive
Mössler, K. (2009). «I am a psychotherapeutically oriented Guide to Music Therapy: Theory, Clinical Practice, Research
music therapist». Theory construction and its influence on pro- and Training. Jessica Kingsley Publishers, London and
fessional identity formation under the example of the Viennese Philadelphia.
School of Music Therapy. Manuscript submitted for publication.
Keywords: Well Elderly; Psychological Well-Being; Im-
Keywords: Viennese School of Music Therapy, theory provisation; Ryff´s Scale.
construction, historical research, music therapy gene-
Maria Gabriela Gautier Nicolau. Music Therapy Mas-
rations, school development model.
ter by Universidade Lusíada de Lisboa.
Dr. elena Fitzthum. Music Therapist, Psychotherapist mggnicolau@gmail.com
(Gestalt), Supervisor, Training Therapist. Research
focus: history of music therapy and its background con-
ditions 1890 -1958. Austrian delegate at the EMTC (Eu-
ropean Music Therapy Confederation), chairwoman of What’s a PIaNo? PortrayING
the WIM (Viennese Institute of Music Therapy).
the «MUsIcaL PersoNaLIty»
Dr. Karin Mössler. Music therapist, Post doc fellow at oF the PIaNo
the Grieg Academy Music Therapy Research Centre,
University of Bergen. Professional focus: music therapy
Gilboa, avi - Israel
practice and research in mental health care. Currently gilboaa@mail.biu.ac.il
collaborating on an international RCT project.
karin.moessler@grieg.uib.no
abstract
The piano is considered as one of the most important
instruments in music therapy (e.g., Priestley, 1975;
MUsIc theraPy aND PsychoLoGIcaL Nordoff & Robbins, 1977). Like other objects that are
WeLL-BeING oF INstItUtIoNaLIZeD central in therapy, people tend to project different traits
WeLL eLDerLy upon it, personalizing it and their relationship with it. The
goal of this study was to empirically investigate this
Gautier Nicolau, Maria Gabriela - Portugal «musical personality» (Nordoff & Robbins, 1971) of the
mggnicolau@gmail.com piano. In this paper, a study which referred to this sub-
ject will be presented. In one experiment, an online
focus group with 14 experienced music therapists was
abstract formed and, based on their personal and clinical expe-
The focus of this research is the levels perceptions of Psy- rience, they discussed possible traits that the piano
chological Well-Being are different in a group with an in- might have for people. Interpretive-Phenomenological
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 33
Analysis (IPA; Smith & Osborn, 2003) resulted in eight terventions on inducing relaxation and reducing nausea
recurring themes, some referring to attributes of the and emesis in cancer patients undergoing chemother-
piano that enable one to get closer in (e.g., intimacy, apy treatment. Approximately 280 patients were inter-
expressiveness) while others referred to restrictive at- viewed, 43 began data collection procedures, and 20
tributed that drive one to close up (e.g., intimidation, of these individuals completed the study.
self-criticism). Participants also discussed the electric
Three dependent measures (heart rate, nausea, and
keyboard in comparison to the piano resulting in sur-
emesis) were collected both before and after each of six
prising insights regarding the fundamental status of the
intervention sessions. Experimental treatment conditions
piano in music therapy. In a second experiment, in-
were guided imagery with music or without music, alter-
tended to enhance research credibility, a different group
nated across the sessions. As part of the experimental
of music therapists answered an open-ended question-
treatment, participants were also encouraged to listen
naire. Results pointed at eight recurring themes, some
twice daily to CD recordings for relaxation. One record-
being similar to those found in the first experiment while
ing contained a script for relaxation with music in the
others pointing at new insights. The overall «musical
background, and the other contained only a script for re-
personality» portrayed in the experiments will be de-
laxation. Moreover, after the fourth and sixth week of
scribed and implications to the field of music therapy
being in the study, the participants responded to a sat-
will be discussed. Time will be given to share further
isfaction survey on their perception on the benefits of MI
meanings that people attribute to the piano and to dis-
and IO intervention. A follow-up telephone interview was
cuss the cultural aspects of the subject.
conducted with each participant nine days after comple-
references tion of the study. Regression analysis was used to ex-
Nordoff, P., & Robbins, C. (1971). Music therapy in special edu- amine factors relating to the frequency of nausea and
cation. New York: John Day. emesis as well as heart rate. A Pearson correlation co-
Nordoff, P., & Robbins, C. (1977). Creative music therapy. New efficient was used to examine the relationship between
York: John Day Company. the extent to which patients utilized the CD for relaxation
Priestley, M. (1975). Music therapy in action. London: Constable. at home and the amount of improvement experienced.
Descriptive analyses were employed to examine partic-
Smith, J. A., & Osborn, M. (2003). Interpretive phenomenologi-
cal analysis. In J. A. Smith (Ed.), Qualitative psychology: A
ipants’ responses to their perceptions of the benefits of
practical guide to research methods (pp. 51-80). Thousand imagery only and music with imagery interventions.
Oaks, California: Sage Publications. Results indicated a statistically significant decrease on
post-heart rate for MI as well as for IO interventions.
Keywords: Piano, Musical instruments, Qualitative re-
There was a significant decrease in the frequency of
search, Online focus group, Interpretative- Phenome-
nausea and emesis over the six-weeks of treatment.
nological Analysis.
Self-reports from the participants indicated that the
avi Gilboa is a music therapist and an experimental guided imagery with music, both within the experimen-
psychologist. He has clinical experience working with tal intervention sessions as well as at home, seemed to
autistic children and children in hospitals. His fields of be very beneficial in inducing relaxation for these par-
research include music and emotions and social and ticular cancer patients.
cultural aspects of music. He is currently a lecturer in
references
the Music Therapy Program at Bar-Ilan University, Israel.
gilboaa@mail.biu.ac.il Bonde, L. O. (2005). The Bonny method of guided imagery and
music (BMGIM) with cancer survivors. A psychosocial study
with focus on the influence of BMGIM on mood and quality of
life. Unpublished Ph. Dissertation. Aalborg University (DK).
Burns, D. S. (2001). The effect of the Bonny method of guided
the eFFect oF MUsIc aND IMaGery imagery and music on the mood and life quality of cancer pa-
to reDUce NaUsea aND eMesIs IN tients. The Journal of Music Therapy, 38(1), 51-65.
caNcer PatIeNts UNDerGoING Frank, J. (1985). The use of music therapy and guided visual
cheMotheraPy imagery on chemotherapy induced nausea and vomiting. On-
cology Nursing Forum, 12(5), 47-52.
Gimeno i Domènech, Mª Montserrat - Usa Gimeno, M. (2005). Orientación teórica del método Bonny de
gimeom@newpaltz.edu imaginación guiada con música (BMGIM), un método trans-
Boyle, Mary - Usa formativo. Aloma, 16, 131-142.
boylem@newpaltz.edu Standley, J. (1992). Clinical application of music and chemo-
therapy: The effects on nausea and emesis. Music Therapy
Perspectives, 10, 27-35.
abstract
Keywords: Cancer patients; Music and imagery; Nau-
The purpose of this study was to investigate the effects sea and emesis; Bonny method of guided imagery and
of music and imagery (MI) versus imagery only (IO) in- music.
34 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress
Montserrat Gimeno. PhD is an Assistant Professor of Gold, C., Heldal To., Dahle, T., & Wigram T. (2005). Music ther-
Music Therapy at the State University of New York - New apy for schizophrenia or schizophrenia-like illness. The Co-
Paltz. She received her doctorate in Counseling Psy- chrane Collaboration. Issue 2: John Wiley.
chology from the University of the Pacific, Stockton, Grocke, D., Bloch, S., & Castle, D. (2008). Is there a role for
California. gimeom@newpaltz.edu music therapy in the care of the severely mentally ill? Aus-
tralasian Psychiatry, 16:6, 442-445.
Mary Boyle. PhD is Director of Music Therapy at the
State University of New York-New Paltz. She is Chair of Grocke, D., Bloch, S., & Castle, D (2009). The effect of group
music therapy on quality of life for participants living with a se-
the Commission on Research and Ethics of the World
vere and enduring mental illness. Journal of Music Therapy,
Federation of Music Therapy. boylem@newpaltz.edu
XLVI(2), 90-104.
Murphy B., Herrman H., Hawthorne G., Pinzone T. & Evert H.
(2000). Australian WHOQOL instruments: User’s manual and
GroUP soNG WrItING eNhaNces interpretation guide. Melbourne: Australian WHOQOL Field
QUaLIty oF LIFe IN seVere MeNtaL Study Centre.
ILLNess Keywords: Mental illness; group song writing.
Grocke, Denise - australia Denise Grocke has authored Receptive Methods in
d.grocke@unimelb.edu.au Music Therapy (2007), book chapters and articles on
music therapy and Guided Imagery and Music. She
abstract was President, World Federation of Music Therapy
1999-2002. d.grocke@unimelb.edu.au
People who have a long-standing mental illness must
cope with severe symptoms including intrusive halluci-
nations and delusions, difficulty relating to others, apathy
and lack of volition. Music therapy has demonstrated ev- storycoMPosING – a NeW MUsIc
idence in improving global symptoms in people who are theraPy MethoD createD
hospitalized with mental illness (Gold, Heldahl, Dahle &
toGether WIth chILDreN
Wigram, 2005). When discharged from hospital, patients
try to cope in the community with varying degrees of anx- hakomäki, hanna - Finlad
iety and isolation (Elisha, Hocking & Castle, 2006; hanna.hakomaki@storycomposing.fi
Grocke, Bloch & Castle, 2008). To measure whether mu-
sic therapy would assist in the process of integration into
the community, a group song-writing intervention was tri- abstract
alled in 2005. The pre-post trial gathered data on quality
of life (QoL), social anxiety and symptom status. After The idea of Storycomposing rose up in a work with chil-
only 8 sessions, positive gains were achieved on the QoL dren under school age in a Finnish day care centre in
(WHOQOLBREF; Murphy et al, 2000) and on one item 1999-2001. With the ideas of children I developed to-
of the Social Anxiety Scale (Grocke, Bloch & Castle, gether with them a new model of musical way of inter-
2009). Encouraged by the positive results on QoL, we action. Storycomposing provides an opportunity to
have embarked on a randomized controlled trial (RCT) express feelings and experiences that have significance
to determine whether group song writing positively af- for individuals. No musical talent or prior studies of
fects symptom status, socialization, and quality of life. music are needed. Storycomposing is suitable for pe-
We will also measure spirituality as a new area of interest ople of all ages from 3 upwards and also for people
in research of people with mental illness. The study de- with learning disabilities and special needs. Children
sign is a wait-list control, with groups of 5-6 people meet- did create musical inventions, storycompositions, which
ing weekly over 12 weeks to compose original songs, seemed to bring out relevant knowledge about chil-
including original lyrics and making decisions about the dren’s lives: their feelings, thoughts and memories. I
genre, style, shape and form of the music. The confer- developed the technique of Storycomposing through
ence paper will present preliminary results of the RCT on practical work with different kinds of groups: small chil-
5 groups completed to date, including quantitative data dren, piano pupils, pupils with special needs, people
on QOL, symptom status, socialization and spirituality. with developmental disabilities and in music therapy
Qualitative data will be presented on the songs written with children and adolescents and their families. I intro-
by the participants and analysis of lyrics. Focus group duce Storycomposing as a new music therapy model
interviews complete the qualitative data gathered in this and its practice in my masters thesis which was com-
study, and common themes regarding the experience of pleted at the University of Jyväskylä, Finland 2005.
song-writing will be presented. The first outcome in my ongoing PhD studies is the
references value of children as producers of knowledge with which
I have been able to formulate the Storycomposing me-
Elisha D., Hocking B., & Castle D. (2006). Reducing social isolation
in people with a mental illness. Australasian Psychiatry, 14, 281-284.
thod. The method is nowadays a way of music therapy
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 35
where it is possible to combine the therapy processes In this paper I will discuss music as a resource to invoke
of a child and his/her family. There have also been ap- memories of a more vigorous past. These memories
plications for the field of wellbeing at work and for el- may allow care-receivers to temporarily reconnect to
derly people suffering from dementia. For the purposes family members through biographically relevant music
how we should interpret the meanings of storycompo- experienced together with their family. My data comes
sitions and how we could assess such non-traditional from my participatory observation in a singing group
forms of qualitative research as arts-based musical na- run by Alzheimer’s Society for care-receivers and their
rratives made by children I am creating the theory for carer. Here music is used to activate past memories
Storycomposing with grounded theory method. Could and strengthen bonds between the caring community,
children even tell something crucial for the research and i.e. people with dementia, their carers and volunteers
development of children’s music psychotherapy through at the singing activity. The moments when the memo-
their own musical inventions? ries of care-receivers are drawn out and shared with the
carers are temporary, but the recharged connections
references
between carers and care-receivers have longer term re-
Berleant, A. (2009). What titles don’t tell. A Lecture-Perfor-
sults. First, it helps carers to maintain the quality of car-
mance by Arnold Berleant with the assistance of Onur Türkes.
Viewed on 5 July 2009.
ing outside the singing activity as they are reminded of
http://www.autograff.com/berleant/pages/recentart13.html the original relationship they had with the care-receiver.
Hakomäki, H. (2009). Storycomposing – an interactive and Secondly, these moments that show others the im-
creative way to express one’s own musical inventions. proved mutual connections between care-receivers and
http://www.inter-disciplinary.net/ carers have a spin-off effect to other attendants, thus
wp-content/uploads/2009/06/hannapaper.pdf we move from affect to effect.
Juslin, P. N. (2007). From mimesis to catharsis: expression,
These moments of reconnection through music will be
perception and induction of emotion in music, in Miell, D. &
explored and made explicit from a (micro)sociological
MacDonald, R. & Hargreaves, D.J. (ed.) Musical Communica-
tion. Oxford University Press.
perspective: How can they help carer and care-re-
ceivers increase their social capital in the larger com-
Midgley, N. (2009). Research in child and adolescent psycho-
therapy: an overview, in Lanyado, M. & Horne, A. (ed.) The munity? In these moments, how are the participants’
Handbook of Child & Adolescent Psychotherapy. London and identity cast and recast? How does the setting and en-
New York: Routledge. vironment affect the participants’ ability to take on var-
Punch, S. 2002. Research with children. The same or different ious «roles» that they can feel more confident in? How
from research with adults? Childhood 9(3), 321-341. are stereotypes of older people constructed and/or
challenged through musical activities?
Keywords: Storycomposing, music therapy, children’s
knowledge. references
Aasgaard, T., 2002. Song Creations by children with cancer-
hanna hakomäki, MPhil Music Therapist, Psychothe-
Process and Meaning. PhD dissertation. Institute of Music and
rapist, Piano Teacher, the Developer of Storycompo-
Music Therapy, AALBORG UNIVERSITY.
sing. PhD Student, Department of Music, University of
Aldridge, D., 2000. Music Therapy in Dementia Care, Jessica
Jyväskylä, Finland.
Kingsley Publishers.
hanna.hakomaki@storycomposing.fi
DeNora, T., 2000. Music in everyday life, Cambridge University
Press.
Pavlicevic, M. & Ansdell, G., 2004. Community Music Therapy,
MoMeNts oF recoNNectIoN: Jessica Kingsley Publishers.
a socIoLoGIcaL eXPLoratIoN oF
Keywords: memory, biographically-relevant music, de-
MeMory IN theraPeUtIc MUsIcaL mentia, care, sociology.
PractIces
Mariko hara. Experienced in community music activi-
hara, Mariko - UK ties for people with learning disabilities and dementia
mh311@exeter.ac.uk in Japan and UK, currently pursuing a doctorate on
music in dementia care at University of Exeter, UK.
mh311@exeter.ac.uk
abstract
Music has often been used with people who suffer from
dementia (care-receivers) to retrieve their memories by
professionals and lay people in various settings. How-
ever, although a number of benefits are claimed to
come from these practices, the reasons for using music
and the perceived benefits that flow from these activi-
ties are rarely explicitly explored.
36 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress
Kanter, R. (1994). Collaborative Advantage: The Art of Al- from recent research and education of individuals with
liances. Harvard Business Review, (July-Aug.), p. 96-108. Autism will be forefront in the presentation. Among
Mattiessich, P., Murray-Close, M. & Monsey, B. (2004). Wilder these the work of Stanley Greenspan and SierraWieder
Publishing Center, St. Paul, MN. who have designed several different assessments and
Powell, W., Koput, K., & Smith-Doerr, L. (1996), Inter-organiza- documentation tools in the floortime model. The pre-
tional Collaboration: The locus of innovation. Administrative senter has direct consultation with these professionals
Science Quarterly, 41, 116-145. therefore being able to share examples in relationship
Sawyer, K. (2007). Group Genius: The Creative Power of Col- to music therapy specifically from them.
laboration. Basic Books. New York, New York.
The concepts they utilize have direct correlations to tech-
Keywords: collaboration, creativity, music therapy, in- niques used in improvisational model of music therapy,
novation. such as Nordoff-Robbins Music Therapy. The presenter will
utilize several mediums to illustrate the concepts. In addi-
annie heiderscheit. Ph.D., MT-BC, FAMI, MFT is a
tion perspectives from other clinicians, educators and pa-
graduate faculty member at the University of Minnesota
rents will be important parts of the information presented.
Center for Spirituality. She is a clinical music therapist
at The Emily Program and owner of Music Medicine. references
Annie is a member of a multi-disciplinary research team Bruscia, K. (1987). Improvisational Models of Music Therapy.
on a four year study funded by the National Institutes Springfield, IL: Charles C. Thomas.
of Health. Dr. Heiderscheit serves as the secretary/trea- Greenspan,S, and Wieder, S. ( 2006). Engaging Autism, Cam-
surer for the World Federation of for Music Therapy and bridge, MA. De Capo Press Books.
on the reimbursement committee of AMTA. Nordoff, P., & Robbins, C. (2007). Creative Music Therapy: A
heide007@umn.edu Guide to Fostering Clinical Musicianship Gilsum, NH: Barcelona.
Nancy Jackson. Ph.D., MT-BC is Director of Music Turry, A. (1998). Transference and countertransference in Nor-
Therapy at Indiana-Purdue Fort Wayne. She has over doff-Robbins Music.
15 years of clinical experience in music-based psy- Therapy. In K. Brusia (Ed.), The dynamics of music psycho-
chotherapy and music medicine. Her recent collabora- therapy (pp.161-212). Gilsum, NH: Barcelona.
tions include research with music therapy faculty from Wachs, Harry, and Furth, Hans G., (1975). Thinking Goes to
other universities, teaching in learning communities with School: Piaget's Theory in Practice, Oxford University Press.
faculty in other academic areas, and the founding of a
Keywords: Autism, Treatment teams, Assessment, DIR,
new organization with related medical and science pro-
Sensory Profiles.
fessionals. jacksonn@ipfw.edu
stacey hensel Ma, MT-BC, NRMT, LCAT.
staceyhensel@hotmail.com
The musical message can induce a series of auditory ce – including the models of the fourfold and threefold
stimuli assessed by each subject in a strictly individual human being and their implications on instrument choice
manner, the answers representing the end product of and therapeutic techniques in this approach to the work.
their insight, coupled whit the projection of certain
AnMt is not well known in main stream music therapy writ-
thoughts and feelings.
ings however it is an established tradition in many parts of
Results These answers suggest the music effects on the the world, for example Germany, Switzerland and the U.K.,
following abilities of the subject (Iamandescu 2002) on: and is the topic of the PhD thesis of the presenter. The pre-
– cognitive level: evoking previous images, ideas or emotional scriptive application of music and its elements in AnMt, for
states, and imagining (creating) abstract notions and certain example the use of intervals and mirrored planetary scales,
objects/ live beings, isolated or interacting (real scenarios). will be discussed. The different roles of music in AnMt and
other music therapy traditions, including Analytical Music
– emotional level: inducing some present emotional states or
Therapy and GIM, will be compared critically.
reawakening feelings or even complex emotions that oc-
curred previously. references
– somatic level: the usual somatic correlates of emotions, in- Beilharz, G. (Ed.) (2004). Musik in Pädagogik und Therapie.
duced by listening to music and being evaluated either sub- Stuttgart: Verlag Freies Geistesleben und Urachhaus.
jectively (bodily sensations) or by the mean of laboratory Felber, Rosmarie, Reinhold, Susanne and Stückert, Andrea
(biomedical markers) (2003): Anthroposophische Kunsttherapie 3: Musiktherapie und
– verbalization capacity of subject’s thoughts and feelings Gesangstherapie: Stuttgart, Germany: Urachhaus.
(one of the major purposes of the music therapy): the ease/ Metzner, S. (1996). Guided Imagery and Music. In: Decker-
difficulty of putting into words the contents of the musical Voigt, H.-H., Knill, P.J. und Weymann, E.: Lexikon der Musik-
message (cognitive, emotional). therapie. Göttingen: Hogrefe.
Priestley, M. (1994). Essays on analytical music therapy.
references Phoenixville: Barcelona Publishers.
Iamandescu, I.B. (2004). Muzicoterapia receptiva (Receptive
Steiner, Rudolf (1970). The human being’s experience of tone.
musictherapy). Infomedica Publishing House, Bucharest, Ro-
In: Art in the light of mystery wisdom. London: Rudolf Steiner
mania.
Press.
Spintge, R. (1985). Some neuroendocrinological effects of so-
called anxiolytic music. Int.J. Neurol., 86, 186-196. Keywords: Music as Therapy; Anthroposophical Music
Therapy; Planetary Scales; Anthroposophical Medicine.
Iamandescu, I.B.( 2008). Musiktest D.T. (MTDT): pp. 453-458
in Ruth Hampe/ Peter B. Stalder “Grenzuberschreitungen” andrea Intveen. 2002: Graduated MA in Music Ther-
Frank&Timme, Berlin. apy (Limerick). 2002-2006: MT work in Ireland. Since
Mozart&Science 2008. Abstracts of Lectures and Posters 2005: PhD candidature commenced supervised by
Luban- Plozza, B., Delli Ponti, M., Dickhaut, H. (1988). Musik Prof. Dr. Jane Edwards. Since 2007: Research Assistant
und Psyche, Birkhauser Tatgeber, Basel, Boston, Berlin. at UdK Berlin. Intveen@udk-berlin.de
Keywords: bodily sensations , emotions , verbalization,
music.
Ioan Bradu Iamandescu, PhD, MD, BA. Psychology. resPoNDING to eMotIoNs
Chair Department of Medical Psychology, Medicine and IN the FIeLD oF PLay
Pharmacy University «Carol Davila» , Senior Allergist
Jackson, Nancy - Usa
Colentina Hospital, Bucharest Romania; contributions
in Allergology,Psychosomatics,Receptive musictherapy. jacksonn@ipfw.edu
abstract
MUsIc as theraPy: the roLe oF Over the years there has been a good deal of discussion
about the need for a language that describes music ther-
MUsIc IN aNthroPosoPhIcaL MUsIc
apy which does not come from the theoretical framework
theraPy of some other discipline. Kenny made large strides to-
Intveen, andrea - Germany wards this goal with her development of the field of play
theory. Recent research exploring the way music thera-
Intveen@udk-berlin.de
pists experience and respond to client anger has identi-
fied models of response that describe therapists’ actions
abstract outside of the framework of more traditional theories that
have been borrowed from other disciplines (e.g. psy-
This paper provides an overview of the uses of music in chology or education), and unrelated to the orientations
anthroposophical music therapy (AnMT) with a focus on that music therapists often use to describe their practice.
some basic tenets of the anthroposophical view of the These models include the Redirection Model, the Vali-
human being and how they apply to musical experien- dation Model, the Containing Model, and the Working-
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 39
Through Model. Instead of being specific actions that abused children. In recent years, some studies indicated
are prescribed as responses to client expressions, the that socio-economic crises in South Korea brought forth
models provide a framework for thinking about the increasing number of low income broken families and in-
client’s need in the moment, and a freedom of choice of creasing incidents child abuse and neglect.
action based on the therapist’s intent in responding to
We are to conduct a large survey on the children (N =
that need. This research supports the field of play theory
200) in the disadvantaged neighborhood in the city and
as a comprehensive theory of music therapy, and sug-
rural areas who attend the local social service centres
gests the beginning of a more specific theory describing
for children such as Save The Children in Jeonlabukdo
the intervention process of the music therapist. The
province in Korea. The survey is to identify the children
models of response will be presented and described,
who are at risk of having been exposed to childhood
and parallels will be highlighted between the models of
abuse and neglect. After identifying the children at risk,
response and other related theories. Input and discus-
we are to screen the children to determine the child
sion of the models and their possible further develop-
abuse, and then select three children who are aged be-
ment will be invited of the attendees.
tween seven and twelve, and conduct individual music
references therapy sessions. Standardized and non-standardized
Amir, D. (1996). Music therapy-holistic model. Music Therapy, measurements including DVD recordings of sessions
14(1), 44-60. will be used. Both quantitative and qualitative data will
Barclay, M. W. (1987). A contribution to a theory of music ther- be collected, analyzed and then presented in this con-
apy: additional phenomenological perspectives on Gestalt ference. Results are yet to be discovered and clinical
Qualistat and transitional phenomena. Journal of Music Thera- implications of the findings will be discussed further.
py, XXIV(4), 224-238.
The work was supported by the Korea Research Foun-
Garred, R. (2006). Music as therapy: A dialogal perspective.
dation Grant funded by The Korean Government (KRF-
Gilsum, NH: Barcelona.
2009-32A-B00203).
Jackson, N. A. (2009). Models of response to client anger in
music therapy. Manuscript submitted for publication. references
Jackson, N. A. (2008). Ways in which music therapists expe- Baumrind. D. (1994). The social context of child maltreatment.
rience and respond to client anger. Family Relations 43(4), 360-368.
(Doctoral Dissertation). Available from Dissertation Abstracts
Berger, L. M. (2005). Income, family characteristics, and physical
International.
violence toward children. Child Abuse & Neglect, 29, 107-133.
Kenny, C. B. (1989). The field of play: A guide for the theory
Coulter, S. J. (2000). Effect of Song Writing Versus Recreational
and practice of music therapy. Atascadero, CA: Ridgeview.
Music on Posttraumatic Stress Disorder (PTSD) Symptoms
Rugenstein, L. (1996). Wilber’s spectrum model of transper-
and Abuse Attribution in Abused Children. Journal of Poetry
sonal psychology and its application to music therapy. Music
Therapy, 13 (4), 189-208
Therapy, 14(1), 9-28.
Gelles, R J. (1992). Poverty and violence toward children. Ame-
Sekeles, C. (2005). Music: Motion and emotion: The develop-
rican behavioral scientist, 35(3), 258-274.
mental-integrative model in music therapy. Gilsum, NH: Bar-
celona. Robarts, J. (2006). Music therapy with sexually abused chil-
dren. Clinical Child Psychology and Psychiatry, 11 (2), 249-269.
Keywords: emotion, anger, therapist response, model
Keywords: Music therapy, child abuse, poverty, the de-
Nancy a. Jackson. PhD, MT-BC has over 15 years of prived children.
clinical experience in music psychotherapy and music
medicine, and presents at regional, national, and inter- Jinah Kim has worked as music therapist, lecturer and
national venues. She is director of music therapy at In- researcher in music therapy in the U.K, Korea and Aus-
diana University-Purdue University Fort Wayne. tralia since 1994. She now focuses on teaching and her
jacksonn@ipfw.edu music therapy clinical research. jinahkim@jj.ac.kr
Kwang-hyuk Kim is a Professor of Department of So-
cial Welfare at Jeonju University. He specializes on child
development, child abuse and poverty, and quantitative
PoVerty aND chILD aBUse IN
research in social science.
MUsIc theraPy: a PILot stUDy
Kim, Jinah - Korea
jinahkim@jj.ac.kr
Kwang hyuk - Korea
abstract
This is an exploratory study to find out whether music
therapy has any positive effects on the deprived and
40 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress
abstract
INDoNesIaN GaMeLaN MUsIc:
In this paper I am going to present a part of my PhD-study
in music therapy: «The Resonating Music Therapist - Self-
aN eXPLoratIoN oF Its reLeVaNce
experiential Training and Development of Clinical Com- to MUsIc theraPy PractIce
petencies: a Mixed Methods Investigation into Students’
Loth, helen - UK
Experiences and Professionals’ Evaluation». The plan is
that I will defend the thesis in April 2010. I will briefly de-
helen.loth@anglia.ac.uk
scribe how self-experience and personal therapy is im-
plemented as a mandatory part of the Music Therapy
abstract
training program in Aalborg, Denmark. The university pro-
gram stands out because the personal therapy and self- The Indonesian Gamelan is a set of between about 5
experience-disciplines are implemented as compulsory and 25 Indonesian percussion instruments: mainly four,
part inside the programme, with much weight from the five or seven tone tuned metallophones, gongs, xylo-
very beginning of the training. phones, and drums. There are over 80 sets of instru-
ments in the UK which are used in Universities, schools
The purpose of my study was first to investigate how
and community centres, and in workshops for different
music therapy students in the Aalborg music therapy pro-
special needs group. These include children and adults
gram (Denmark), experience and verbalize self-experien-
with learning difficulties and mental health problems,
tial learning-processes and second to give a perspective
the hearing impaired and those with special popula-
to this phenomenon by describing how Danish profes-
tions, such as young offenders and prisoners. The
sional music therapists evaluate the impact of their former
workshop leaders are not music therapists and are not
self-experiential training on their present clinical and pro-
running therapy sessions, however many report thera-
fessional competencies. I am going to focus on present-
peutic benefits to their work (Digard, Grafin von Spo-
ing the qualitative part of my research which addresses
neck and Liebling 2007). There is only a small amount
the first part of the purpose about the students’ experi-
of research in this area, (Sanger and Kippen, 1987;
ences. The methods that I have used were hermeneutic
MacDonald, O’Donnell and Davies 1999) and it is rarely
qualitative interviews with nine music therapy students on
explored in the field of clinical music therapy.
their master level and hermeneutic music analysis of
music examples chosen by the nine participants. I am This paper will present some new aspects of an ongoing
going to present both an artistic level of interpretation of PhD study into the relevance of gamelan to music ther-
data that I call ‘improvisation narratives’, as well as a the- apy practice. It will present findings from the literature
oretical level of interpretation in relation to the data. review, focussing on the particular appeal of gamelan
to various sectors of education, health and community
references
music making, studies from the fields of ethnomusicol-
Brinkmann, S. and Kvale, S. (2005). Confronting the ethics of qual-
ogy, music education, music psychology and recent
itative research. Journal of Constructivist Psychology, 18: 157-181.
contributions to gamelan literature. The cultural context
Kvale, S. and Brinkmann, S. (1996/2009). Interviews – an introduc- of the music in Indonesia will be addressed, including
tion to qualitative research interviewing. Thousand Oaks, CA: Sage.
theories of interaction, the place of the individual in the
Lindvang, C. (2007). Consciousness and Creativity - Students’ group, the inherent qualities of the sounds, musical
therapy and selfexperience in the Music Therapy Education,
forms and instruments (Gold, 2005) and the relevance
in the Perspective of Cybernetic Psychology. (Danish article)
of these aspects to gamelan playing in the west. The im-
In: Psyke & Logos, 1.
plications of these findings for music therapy and for the
Pedersen, I. N. (2002). Self-experience for Music Therapy Stu-
use of non-western music and instruments in western
dents - Experiential Training Music Therapy as Methodology -
music therapy will be explored. The findings of a recent
A Mandatory Part of the Music Therapy Programme at Aalborg
mapping exercise into gamelan use in the UK will also
University. In: Analytical Music Therapy. J. T. Eschen (Ed), Jes-
sica Kingsley Publishers. be presented. Examples of gamelan music will be used
in the presentation.
Keywords: Qualitative research, training, self-experien-
ce, interviews, music-analysis.
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 41
Following the request of a psychotic adult patient, an in- Balancing means adapting the extreme poles as well as
novative work in family music therapy took place in 2004. searching for some ‘compromising’ solutions - all de-
The separation of a mother from her daughter after the pending on the clients’ needs at the particular moment
latter's birth –due to medical reasons– resulted in a da- /stage /level of the single session and/or the whole
maged mother and daughter relationship our work focu- therapeutic process. It requires a meta-perspective and
sed on that relationship. Both the mother and daughter flexibility from the music therapist as well as a wide
attended weekly music therapy sessions for the duration spectrum of practical therapeutic skills. However, the
of three consecutive years, with two music therapists well-evidenced benefits of the integrated approaches in
present in each. The observations, dynamics, outcomes psychotherapy inspire to apply this trend to music thera-
and general work throughout the sessions have been py theory and practice.
analyzed in cooperation with the group of clinical rese-
This entails further reflections on training programmes
arch of the Nantes institute of music therapy.
in music therapy, and their capability to prepare stu-
Attempting a global approach of the therapeutic pro- dents to use integrated /eclectic approaches in thera-
cesses involved, this conference (seminar) examines peutic practice. The paper provides analysis of the
how musical choices have had a direct influence on the short -and long- term goals defined for this integrated
evolution of the familly therapy of these two women. improvisational music psychotherapy approach with
their practical implications in the dynamics of the ther-
Keywords: Familly music therapy- psychosis-Sound
apeutic process as well as description of the specific
pace- universality.
therapeutic interventions.
Félicie Mahé Mongiorgi. Music therapist with mentally
references
disabled adults in medical social institution since 20
years, member of the Nantes musictherapy institution Beutler, L.E., Clarkin, J.F. (1990). Systematic treatment selec-
tion. Toward targeted therapeutic interventions. New York:
research group. Member of France Musicotherapy.
Brunner/Mazel.
felicie.marie@wanadoo.fr
Bruscia, K.E. (1987). Improvisational Models of Music Therapy.
Genevieve Parbeau. Clinical Psychologist. Music the- Springfield Illinois: Charles C. Thomas Publisher.
rapist with mentally disabled adults in médical social Bruscia, K. (Ed.) (1998). The Dynamics of Music Psychother-
institution since 27 years member of the Nantes music- apy. Gilsum, NH : Barcelona Publishers.
therapy Institution research group. Choir conductor and Prochaska, J.O., DiClemente, C.C. (1984). The transtheoretical
singer. Psychophonie's experience. approach: Crossing the traditional boundaries of therapy.
cantapsy@orange.fr Homewood: Dow Jones-Irwin.
abstract
The paper presents an integrated, balanced approach
to improvisational music psychotherapy emerged from
theoretical reflection related to the author’s clinical prac-
tice in adult psychiatry.
The essence of the approach is to permanently balance
between opposite poles of the continuum including: a)
pathogenetic (corrective) versus salutogenetic (re-
source-oriented); b) directive versus client-centered; c)
referential versus non-referential; d) analytical versus
purely experiential ; e) psychodynamic versus existen-
tial /meaning-centered; f) focus on interpretation versus
cognitive-behavioural training, etc.
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 43
WIth aLZheIMer`s DIsease Vink AC, Birks JS, Bruinsma MS, & Scholten RJS (2006). Musi-
coterapia para personas con demencia [Music therapy for peo-
Mateos hernández, Luis alberto - spain ple with dementias]. In Cochrane Library Plus, 1. Oxford: Update
Software Ltd. Available in: http://www.update-software.com.
lamateoshe@upsa.es
san romualdo corral, Beatriz - spain Keywords: Assessment, Music Therapy, Alzheimer´s
Bsanco@upsa.es Disease, Evidence Based Music Therapy, Dementia.
Del Moral Marcos, María teresa - spain Luis alberto Mateos hernández. Music Therapist. Psy-
maitedelmoral@gmail.com chologist. Coordinator of Music Therapy Master (UPSA).
Director of Music Therapy’s Unit (National Reference
Center for people with Alzheimer’s Disease, IMSERSO-
abstract UPSA). President -Professional Music Therapists Span-
This research has been conducted from October 2008, ish Association (AEMP).
in the Music Therapy Intervention and Research Unit of lamateoshe@upsa.es
the National Reference Center for People with Alzheimer’s Beatriz san romualdo corral. Musicologist. Music
Disease and other Dementias of Salamanca (Spain). Al- therapist and research assistant (Unit of Music Therapy
though in Spain there are over 1,600 music therapists, – National Reference Center for people with Alzheimer’s
there are still scanty systematic assessment procedures Disease, Salamanca, IMSERSO-UPSA). Professor of
for obtaining information from participants of the interven- Master of Music Therapy (Pontifical University of Sala-
tion, especially when referring to Alzheimer’s patients. manca). bsanco@upsa.es
The objective of this research is the development of
María teresa Del Moral Marcos. Educational Psycho-
«Music Therapy Assessment System for People who
logist. Music therapist and research assistant (Unit of
suffer from Alzheimer’s Disease» (SEMPA) to improve
Music Therapy – national Reference Center for people
the professional practice of music therapists. It enables
with Alzheimer’s Disease, Salamanca, IMSERSO-UPSA).
us to get a better systematization of information ob-
Professor of Music Therapy Master (Pontifical University
tained in the sessions of music therapy intervention by
of Salamanca). maitedelmoral@gmail.com
the ranking of priority skills in the areas of adaptive
function and specificity in assessment items. This con-
tributes to achieve the highest possible level of normal-
ization and quality of life for these people.
We have worked with two groups of 5 people suffering MUsIc theraPy IN MeDIcINe:
from Alzheimer’s Disease that mainly differ in the level theoretIcaL aND PractIcaL
of cognitive impairment of participants (mild to mode- asPects oF MUsIc theraPy
rate). Eighty five music therapy sessions were carried aPPLIeD IN the MeDIcaL coNteXt
out with each group. The data record of each participant
was made from recordings of two fifty minute weekly Mercadal-Brotons, Melissa - spain
sessions of music therapy. Video camera observation, patmarti.mt@gmail.com
direct observation and registration to assessment Martí, Patricia - spain
sheets have been used as instruments for data collec- melissa.mercadal@idec.upf.edu
tion. Previous evaluation standardized instruments have
also been taken into account. Data obtained during the
processing time of SEMPA acknowledge their useful-
abstract
ness for the practice of music therapy with these pa-
tients and helps to support the implementation of the The objective of this presentation is to introduce a re-
method of evidence-based music therapy within the cently published book, in Spain, on the application of
CRE Alzheimer in Salamanca. Music Therapy in Medicine. Music therapy in the med-
ical field is a more recent area of application in Spain.
references
Music therapy interventions in the educational and geri-
Aldridge, D. (2000). Music Therapy in Dementia Care. London:
atric contexts have more tradition, and therefore, are
Jessica Kingsley Publishers.
more consolidated in our country. However, the re-
Brotons, M. & Martí, P. (2008). Manual de Musicoterapia en Ge- quests from allied health professionals to introduce new
riatría y Demencias. Barcelona: Monsa-Prayma
methodologies of intervention have led to initiate, de-
Raglio, A., Gianelli, M.V. (2009). Music Therapy for individuals velop and implement music therapy projects in the medi-
with dementia: areas of interventions and research perspec- cal arena. Thus, in the last years the Spanish community
tives. Curr Alzheimer Res, Jun. 6 (3), pp 293-301.
44 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress
mance. in Voices: Main Issue, Vol. 5, No. 3 Released Novem- The number of participants following a power analysis
ber 1, 2005, Retrieved July 13, 2009, from in N=50, and recruitment is underway and to date (No-
http://www.voices.no/mainissues/mi40005000192.html vember 2009) N=10, with an estimated N= 40 by April
Hattori, T.(2003). Outsider Art- An Art forgotton by Contemporary 2010. Preliminary quantitative results will be presented
Art. Kobunsha. alongside the phenomenological derived essence from
Keywords: Community Music Therapy, improvisation, qualitative interviews.
outsider art, outsider music, creative activity references
rii Numata. PhD is a lecturer, a research fellow of art Cassileth BR, Vickers AJ, Magill LA, (2003). Music therapy for
management project, registered music therapist, and mood disturbance during hospitalisation for autologous stem
leads improvisational music making project for people cell transplantation. Cancer Dec 15;98(12) 2723-9.
with learning disabilities and musicians. Cohen SR, Mount BM (2000). Living with cancer: «Good» days
riinumata@r8.dion.ne.jp and «bad» days - What produces them? Can the McGill Quality
of Life Questionnaire distinguish between them? Cancer Oct
15 89 (8): 1854-1865.
Dileo, Cheryl (2005). Medical Music Therapy: A meta-analysis
& agenda for future research. Jeffrey Books. 2005. USA.
the eFFect oF soNGWrItING oN O’Brien, E.K. (2003). The nature of the interactions between
caNcer PatIeNts’ QUaLIty oF LIFe, patient and therapist when writing a song on a bone marrow
MooD aND DIstress transplant ward. Masters Thesis. University of Melbourne.
O’Brien E (2005). Songwriting with Adult Patients in Oncology
o’Brien, emma - australia and Clinical Haematology, In Songwriting Methods, Tech-
emma.obrien@mh.org.au niques and Clinical Applications for Music Therapy Clinicians,
Educators and Students, F. Baker & T.Wigram (Ed), JKP, United
Kingdom.
abstract Keywords: cancer, songwriting, quality of life.
The purpose of this study is to provide robust evidence emma o’Brien specializes in songwriting in cancer
based practice for the role of songwriting in supportive care. Her work was featured in the award-winning do-
care for cancer patients. The author has been practic- cumentary Opera Therapy (2005). Emma has published
ing using this method for over 10 years. This multi site in journals, major texts, and has presented at interna-
randomized control trial (RCT) examines the effect of tional therapy and multidisciplinary conferences.
songwriting in music therapy using a specialized tech- emma.obrien@mh.org.au
nique (Guided Original Lyrics and Music) (GOLM) , on
cancer patients’ quality of life, mood, distress levels and
satisfaction with their hospital stay. GOLM is a docu-
mented songwriting protocol that integrates the patients PsychoDyNaMIc aPProach to
throughout the entire songwriting process creating an
PerForMaNce aNXIety aND
original work. Qualitative findings (N=6) from the au-
thors Masters research revealed that songwriting using PossIBLe INterVeNtIoNs oF
GOLM was a non- threatening, positive experience, that MUsIc theraPy
lifted mood, and offered a unique outlet in the hospital
Pehk, alice - estonia
setting.
alice.pehk@gim.ee
This RCT uses mixed methods. The quantitative meas-
ures are the McGill Quality of Life Scale, The short form
of Profile of Moods States, the Distress Thermometer abstract
and a Mood Rating Scale. Data is also being collected
This presentation introduces the results of a study that
on the participants’ music history and the meaning of
examined Performance Anxiety (PA) in young adults.
music in their lives. This RCT is open to all adult cancer
One of the aims of the research was to find associa-
patients undergoing treatment (curative and palliative)
tions between PA and early experiences and types of
and participants are being recruited at two major can-
parenting. Another goal was to examine how the situa-
cer treatment hospitals. The control is a Befriending
tional factors before and during performance and cop-
Protocol, which offers reflective listening and controls
ing strategies of young musicians were related to the
for the presence of the therapist. The treatment is three
level of anxiety. A sample of 95 music students com-
sessions over a maximum of two weeks, with a pre and
pleted the State-Trait Anxiety Inventory (STAI) by D.
posttest design, and t follow up measures are taken 2
Spielberger, the Kenny Music Performance Anxiety In-
weeks post treatment. Qualitative measures are post
ventory (K-MPAI) and the Performance Anxiety Self Re-
session interviews about the participants’ experience.
port (PASR).
46 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress
alice Pehk. MA, music therapist, lecturer at Tallinn Univer- Bodner, E., Iancu, I., Gilboa, A., Sarel, A., Mazor, A., & Amir,
D. (2007). Finding words for emotions: The reactions of pa-
sity, Estonian Academy of Music and Theatre, UT Viljandi
tients with major depressive disorder towards various musical
Culture Academy. Clinical practice in psychodynamic
excerpts. The Arts in Psychotherapy, 34(2), 142-150.
music therapy. Creative trainings in personal/organiza-
Al’tman, Y. A., Alyanchikova, Y. O., Guzikov, B. M., & Zakha-
tional development. Estonian representative in EMTC.
rova, L. E. (2000). Estimation of Short Musical Fragments in
alice.pehk@gim.ee
Normal Subjects and Patients with Chronic Depression.
Human Physiology, 26(5), 553-557.
Techniques and Applications for Clinicians, Researches, Edu- with music, expression of feeling in words, and problem
cators and Students (pp. 13-28). Londres: Jessika Kingsley solving is effective in assisting students to regulate their
Publishers. emotions as compared to a baseline condition.
Wheeler B (1995). Music Therapy Research: Quantitative and
Qualitative Perspectives. Gilsum, NH: Barcelona Publishers.
One of the characteristics of students with emotional
disturbances is poor resistance to distraction. This
Plahl, C. (2007). Microanalysis of Preverbal Communication in
characteristic may prevent these students from per-
Music Therapy. En T. Wigram y T. Wosch (Eds.), Microanalysis
in Music Therapy. Methods, Techniques and Applications for
forming emotion regulating skills if there are distractions
Clinicians, Researches, Educators and Students (pp. 41-53). although they have learned the skills. Is the use of
Londres: Jessika Kingsley Publishers. music effective to mask background noise for students
Plahl, C. (2004). Transactional Theory on an empirical ground.
with emotional disturbances to regulate their emotion?
Dimensions of relation in music therapy. Music Therapy Today, references
4, 1-28.
Doggett, A. M. (2004). ADHD and drug therapy : is it still a valid
Keywords: Microanalysis; instrument; observation; re- treatment? Journal of Child Health Care, 8(1), 69-81.
lationship; quality; translation Landrum, T. J., Tankersley, M., & Kauffman, J. M. (2003). What
is special about special education for students with emotional
eliana Noemí sabeh. Ph.D. in Psychology. University
or behavioral disorders? The Journal of Special Education, 37,
of Salamanca. Master Degree on Integration of Persons 148-156.
with Disabilities. University of Salamanca. University
Nickerson, A. B. & Coleman, M. N. (2006). An exploratory stu-
Teacher. Pontificia University of Salamanca Master of
dy of member attraction, climate, and behavioral outcomes of
Music Therapy Program Coordinator. Pontificia Univer- anger-coping group therapy for children with emotional distur-
sity of Salamanca. ensabeh@upsa.es bance. Small Group Research, 37, 115-139.
Bernardo canga Bernardo. Master Dregree in Music Singh, N. N., Lancioni, G. E., Joy, S. D. S., Winton, A. S. W.,
Therapy. Pontificia University of Salamanca. Fellow-ship Sabaawi, M., Wahler, R. G., et al. (2007). Adolescents with con-
in Music Therapy. Beth Israel Medical Center. New York. duct disorder can be mindful of their aggressive behavior.
Journal of Emotional Behavioral Disorders, 15, 56-63.
White, H. A. (2007). Inhibitory control of proactive interference
in adults with ADHD. Journal of Attention Disorders, 11, 141-149.
chodynamic music therapy in verbal, nonverbal and so- Grocke 2005). Though these discussions present the di-
cial communication of children with ASD. A randomized verse aspects, the thing they have in common is that
controlled trial (RCT) with 24 patients was designed to most of music therapists tend to regard music as an ob-
compare individuals treated with music therapy (n=12) ject that reflects client’s inner world as well as to grasp
and standard treatment (routine procedures including his or her mind, personality, and identity through some
medical examinations and consultations, n=12). The musical parameters. The reason is considered that
outcomes were assessed, before and after interventions, «much qualitative research is often based on the axiom
with the Brazilian version of the Childhood Autism Rating that a client’s music (experience) reflects his or her per-
Scale (CARS-BR). Although as a whole the results did sonality and pathology or problem» (Bonde 2005).
not show statistically significant differences between the
However, could music reflect client’s inner world? Even
groups, the subgroup analysis of ASD type showed a
so, could we really grasp others’ inside through music?
positive influence of music therapy in patients with autis-
This presentation will be concerned with exploring these
tic disorder (n=5), when compared to patients with the
questions from three points of view as follows: 1) Based
same diagnostics who received standard treatment
on the principle of semiology such as J.-J, Nattiez and
(n=5) with P = 0.008 and standard mean difference of
U. Eco, musical meanings are not intrinsic within music
2.22 (95% CI 1.90 to 2.53). The findings on the influence
itself but rather determined by culture and context. 2)
of psychodynamic music therapy in communication
Seen from the perspective of bio-politics, a ‘consensus
skills of autistic patients are not conclusive, but this study
model’ (Ansdell & Pavlicevic 2004) of music therapy
confirmed previously reported RCT showing possible
may produce a new type of mechanism of inclusion-ex-
benefits of music therapy on nonverbal communication
clusion (Miyake 2008). 3) Furthermore, the limitations
skills of children with autistic disorder.
of the conventional ideas on ‘self’ and ‘identity’ are
Keywords: music therapy, autism, communication. pointed out among recent discussions on these con-
cepts in contemporary sociology and philosophy.
references
These points show that how difficult it is to answer ‘yes’
Accordino R, Comer R, Heller WB. (2007). Searching for
to the above questions and that clinical listening holds
music’s potential: A critical examination of research on music
some problems. Therefore, I suppose that this issue to
therapy with individuals with autism. Research in Autism Spec-
be increasingly important.
trum Disorders 1(1):101–15.
Gold C, Wigram T, Elefant C. (2006). Music therapy for autistic references
spectrum disorder. Cochrane Database Syst Rev. (2):CD004381. Bonde, L. O. (2005). Approaches to Researching Music. In
Kim J, Wigram T, Gold C. (2008). The effects of improvisational Music Therapy Research, 2nd ed. pp. 489-525. Edited by Bar-
music therapy on joint attention behaviors in autistic children: a bara L. Wheeler. Gilsum, N.H.: Barcelona Publishers.
randomized controlled study. J Autism Dev Disord. 38(9):1758-66. Forinash, M. % Grocke, D. (2005) «Phenomenological Inquiry.»
In Music Therapy Research, 2nd ed. pp. 321-334. Edited by
Gustavo schulz Gattino. M.D: is a music therapy re-
Barbara L. Wheeler. Gilsum, N.H.: Barcelona Publishers.
searcher in autism and multiple disabilities fields. He is
currently PhD student in Pediatrics at UFRGS University Miyake, Hiroko (2008) «Rethinking music therapy from the per-
spective of Bio-politics.» In Voices: A World Forum for Music
(Brazil). gustavogattino@terra.com.br
Therapy. Retrieved November 2, 108, from
http://www.voices.no/mainissues/mi40008000284.php
Pavlicevic, M. & Ansdell, G. (eds) (2004) Community Music Ther-
«LIsteNING» IN MUsIc theraPy apy. London and Philadelphia: Jessica Kingsley Publishers.
reVIsIteD Stige, B. (2002) Culture-Centered Music Therapy. Gilsum, N.H.:
Barcelona Publishers.
shimada, Kumi - Japan
Keywords: listening, culture, context, self, identity.
shima93@gmail.com
Kumi shimada is a graduate student in community art
course at Kobe University, after graduated from Tokyo
abstract University of the Arts. Her research fields include musi-
In music therapy, listening is often regarded to be im- cology and music therapy. shima93@gmail.com
portant to construct the interpersonal relationship bet-
ween client and therapist. Recently, this issue is
discussed by several music therapists from various
points of view including phenomenology, hermeneutics
or psychology and so on. Among them, Ferrara’s phe-
nomenological inquiry (1984) is widely referred in many
music therapy literatures as means of investigating lis-
tening approaches to clinical improvisation (Forinash &
50 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress
references
MUsIc theraPy traUMa research: National Institute for Clinical Excellence (NICE) (2006). Post
a coNserVatoIre aND NatIoNaL Traumatic Stress Disorder: The Management of PTSD in adults
heaLth traUMa serVIce and children in primary and secondary care. (London: Gaskell
& The British Psychological Society).
coLLaBorate
Sutton, J. P. (2002). Music, Music Therapy and Trauma: Interna-
sloboda, ann - UK tional Perspectives. (London: Jessica Kingsley Publications).
ann.sloboda@gsmd.ac.uk Carr, C., d’Ardenne, P., Sloboda, A., Scott, C., Wang, D. &
Priebe, S. (submitted for publication). Group music therapy for
carr, catherine - UK
patients with persistent post-traumatic stress disorder - a pilot
catherinecarr@hotmail.com randomised controlled trial.
point of departure, the role of music therapy in contem- analysis tasks previously tested in a proof of concept
porary mental health care will be explored. Theory study* (Streeter 2008). Finally, the survey respondents
about the concept of empowerment, as well as theory were asked to suggest ideas for future analysis tasks
and research on the concept of recovery in mental they would like included in the design of a specialist
health care will be discussed. music therapy evaluation program.
references The therapist’s current evaluation methods are pre-
Anthony, W. A. (1996). Recovery from Mental Illness: The Guid- sented and discussed. These indicate a spread of
ing Vision of the Mental Health Service System in the 1990s. techniques, the minority of which involve systematic re-
Psychosocial Rehabilitation Journal, 1993, 16(4), 11-23. porting. The ability to quickly locate, listen back to, ob-
Davidson, L., Borg, M., Marin, I., Topor. A., Mezzina, R, & Sells, jectively quantify and compare musical events (by using
D. (2005). Processes of Recovery in Serious Mental Illness: a computer program) was thought to be useful in
Findings from a Multinational Study. American Journal of Psy- evaluating how patients (and therapists) change their
chiatric Rehabilitation, 8, 177-201. use of music over a series of sessions. Therapists were
Rolvsjord, R. (2007). Blackbird singing. Explorations of Resource- asked to report their opinions evaluating patient pro-
oriented Music Therapy in Mental Health Care. Thesis submitted gress as well as therapy process. Results show that both
for the degree of Doctor of Philosophy. AalborgUniversity. aspects were considered equally relevant. Gender influ-
Solli, H.P. (2010). Musikkterapi som integrert del av standard ences on opinions are also discussed. The paper con-
behandling i psykisk helsevern [Music Therapy as Integrated cludes by outlining the technical challenges raised by
Part of Standard Care in Mental Health Care].In: Ruud, E. the evaluation tasks suggested by the survey respon-
Musikk som psykisk helsevern [Music Therapy as Mental dents.
Health Care]. An antology from the Norwegian Academy of
Music, Oslo. The majority of analysis tasks were previously tested
using the Music Therapy Logbook research prototype
Keywords: Mental health, psychosis, recovery, empo-
1 system (Streeter. et al 2008) which applied automatic
werment.
music information retrieval techniques to audio record-
hans Petter solli. PhD-student in music therapy at the ings of individual music therapy in a neuro-rehabilitation
University of Bergen. Has worked as a music therapist setting in which acoustic instruments were played.
in an inpatient psychiatric unit for seven years. Lectured references
for two years at the University of Bergen.
Benveniste, S. Jouvelot, P. Lecourt, E. Michel, R (2009) De-
hpsolli@gmail.com
signing wiimprovisation for mediation in group music therapy
with children suffering from behavioral disorders. Proceedings
of the 8th International Conference on Interaction Design and
Children;Design for Health (pp.18-26) ACM SIGCHI, IDC’09,
Como, Italy, June 2009.
Do MUsIc theraPIsts WaNt to Use
Erkkilä, J. (2007). Music Therapy Toolbox (MTTB) An Improvi-
coMPUtatIoNaL MUsIc aNaLysIs
sation Analysis Tool for Clinicians and Researchers. In T.
For eVaLUatING sessIoNs? Wosch & T. Wigram (Eds.), Microanalysis in Music Therapy.
Methods, Techniques and Applications for Clinicians, Re-
streeter, elaine - UK searhers, Educators and Students. (pp.134-148). London and
es530@york.ac.uk Philadelphia: Jessica Kingsley Publishers.
Davies, Matthew - UK Gilboa, A. (2007). Testing the MAP: A graphic method for de-
scribing and analyzing music therapy sessions The Arts in Psy-
chotherapy 34, 4, 309-320.
abstract
Streeter, E., Davies, M., Hunt, A., Caley, R., Roberts, C., Reiss,
Research on computational analysis of music therapy J. D. and Bramwell Dicks, A., (2008). Developing a computer
recordings is advancing (Benveniste 2008, Erkkila 2005, aided music therapy analysis system for evaluating music ther-
Gilboa 2007, Streeter 2008). But how likely is it that apy with patients with neuro-disability, Book of Abstracts, Music
music therapists will want to use such techniques for Health and Happiness Conference, Manchester, U.K.
practice evaluation? In this paper we present our find- E. Streeter, C. Roberts, R. Caley, A. Hunt, J Reiss, M. Davies,
ings on the opinions of a group of international music An interactive data analysis logbook for evaluating evidence
therapists working in neuro-rehabilitation settings. of the effectiveness of music therapy treatment with neuro-re-
habilitation patients, IPEM Annual Scientific Meeting, Bath,
An on-line survey (n=44) of the International Music U.K. Sept. 2008.
Therapy Neurology Network asked therapists to report
on how they evaluate their work now and give opinions Keywords: evaluating music therapy computer neuro-
on the likelihood of using a specialist computer pro- disability.
gram for music therapy evaluation in future. Therapists elaine streeter trained with Paul Nordoff and Clive
were asked to review computational music therapy Robbins. Experienced music therapy academic and
52 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress
member of the advisory council of the APMT. Her doc- Lindner, R. (2006). Suicidality in Men in Psychodynmaic Psycho-
toral study is Music Therapy Computational Analysis. therapy. Psychoanalytic. Psychotherapy Vol. 20, No 3, 197-217.
es530@york.ac.uk Strehlow, G. (2009). The use of music therapy in treating sex-
ually abused children. Nordic Journal of Music Therapy Vol. 18,
Mathew Davies PhD is a computing engineer spe- Issue 2, 167-183.
cialised in music information retrieval and music ther-
apy. His doctoral study at London University devised Keywords: systematic quality research, borderline per-
original algorithms for musical beat tracking. sonality disorder, psychoanalytically informed MT, inter-
action patterns, use of music.
Gitta strehlow gained her Diploma in Music Therapy
from the Institute of Music Therapy (University of Music
MUsIc theraPy For PatIeNts WIth and Theatre Hamburg). She has worked since 2000
BorDerLINe PersoNaLIty DIsorDer with adults at Bethesda General Hospital Hamburg-
Bergedorf, Department of Psychiatry and Psychother-
strehlow, Gitta - Germany apy and in parallel since 1998 with sexually abused
gitta.strehlow@t-online.de children (Dunkelziffer e.V.) Gitta is also a part-time lec-
turer at the Institute of Music Therapy Hamburg and the
Forum for Further Education in Music Therapy Switzer-
abstract land. gitta.strehlow@t-online.de
This paper presents qualitative research into individual
music therapy sessions in a clinical setting with female
patients with borderline personality disorder. Borderline
patients show distinctive behavioural features such as BasIc eMotIoNs IN MUsIc theraPy
intense and unstable relationships, impulsivity, suicidal
Wosch, thomas - Germany
behaviour and often self-harm. Therapeutic work with
these patients is characterised, therefore, by high ten- thomas.wosch@fhws.de
sion, strong emotions and pressure to act quickly. Pa-
tients with borderline personality disorder make use of abstract
music, either played, listened to or even rejected, in
their own typical way. Music therapy and music psychology are dealing a lot
with music and emotion. However, there is a big differ-
The case material from twenty female patients is used ence between both fields of research in using different
to examine the treatment method of «Forming Types by systems of emotions. For a long time music psychology
Understanding» from a hermeneutic and heuristic pers - as a science of basic research was using mainly emo-
pective. This method is based on a systematic analysis tion systems of psychology of emotions. In our days au-
of similarity and differential reference points to develop thors of music psychology like Kreutz (2008) are going
an understanding of the use of music therapy with bor- to a different position then psychology of emotions. In
derline patients. Individual sequences at the start of and music therapy, which kernel is the clinical practice,
during the therapy are examined from the view of the since Priestley (1994) was used a different system of
music therapist. The result is ten typical interaction pat- emotions then in psychology of emotions. One very im-
terns between patient and therapist and an analysis of portant difference arises from emotion as a quality of
the corresponding use and significance of music. relationship in music therapy and emotion as basic mo-
Music offers e.g. the possibility to withdraw; it can go tivation system of behavior in music psychology.
beyond borders or can serve to set borders; and it can In this paper will be discussed a general system of emo-
be used as a way of expressing dissent. At the begin- tion for music therapy on the basis of Wosch 2007 and
ning of the therapy, threatening feelings often have to its use in clinical assessment and in improvisational
be excluded with the help of music. During the therapy, techniques of music therapy treatments especially in in-
interaction patterns with a greater capability for mental- dividual music therapy. Results from international re-
ization manifest themselves. search cooperation, i.e. with the Finish centre of
The paper presents the research method and shows excellence in music and cognition are included. Also
some selected results. new institutional use for music therapy assessment cen-
tre will be briefly introduced.
references
Wöller, W. (2006). Trauma und Persönlichkeitsstörung. Stutt- references
gart: Schattauer. Kreutz, G. (2008). Musik und Emotion. In: Bruhn, H. & Kopiez,
Nygaard Pedersen, I. (2006). Countertransference in music R. & Lehmann, A. (Eds.): Musikpsychologie. Reinbek: rowohlts,
therapy. PhD dissertation. Aalborg University. 548-572.
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 53
MuSIcKING THE WAY TO also as Project Manager of the Heideveld (Trauma) Pro-
EMPOWERMENT ONE SONG AT A TIME ject. mandana@music-therapy.org.za
Kerryn Torrance manages the Siyaphila project (HIV
Ahmadi, Mandana - South Africa
and AIDS) for the Music Therapy Community Clinic
mandana@music-therapy.org.za
which she co-founded. She has also had clinical expe-
Torrance, Kenny - South Africa rience working on the Heideveld Project.
kerryn@music-therapy.org.za kerryn@music-therapy.org.za
Abstract
The violent historical oppression of Apartheid in South IMPROVISATION IN RELATIONSHIP
Africa was abolished fifteen years ago. However, this TO THE END OF LIFE
oppression was replaced with a pervasive and conti-
nuous type of violence that manifests in the so-called
Baroni, Mariagrazia - Italy
‘coloured’1 community of Heideveld through poverty, mariagrazia.baroni@alice.it
inadequate access to medical facilities, under-re-
sourced educational services, and neglect of children.
These stressors have resulted in a community defined Abstract
by a sense of apathy and disempowerment, negatively This presentation presents the process of music the-
affecting children and youth by eroding their sense of rapy conducted at the Hospice of Reggio Emilia (Italy)
agency and self-worth, and tarnishing their dreams for with oncological patients. Music therapists working at
the future. This activates an ongoing cycle of violence the hospice have to communicate constantly through-
where young people often become victims or get drawn out the week alongside a multidisciplinary team which
into antisocial activities (gangsterism and drug abuse). includes nurses, doctors, psychologists, counsellors
This presentation draws on empowerment theory to dis- and many other professionals.
cuss the role of the Music Therapy Community Clinic in One of the most important aspects in this work is about
initialising therapeutic processes that empower indivi- time: every intervention (assessment-process of the-
duals to believe in themselves, experience themselves rapy-evaluating) must be considered in brief time be-
in positive leadership roles, and to become active cause of the rapid progression of the disease. At the
agents in fulfilling their dreams. These processes are end of life, contrasting emotions are demonstrated that
facilitated through the collaboration of Music Therapists impede the patients a full comprehension of their own
and Community Musicians in the arenas of the closed state of being, which often reduces the possibility of
therapy room as well as on the stage. The case study verbal communication with the family and care givers.
will focus on the journey of a group of boys in a marim- According to the philosophy of the hospice, music the-
ba band who have come to feel entitled to the dream rapy offers a «suspension» from total pain, a time to re-
of becoming valued members of society and who are flect and get in touch with oneself. In music and
constantly consulted in our evaluation process in order improvisation, the patient can find a way to express
to describe the benefits that our intervention has for what which is inexpressible in words and coming out of
their lives. isolation.
Keywords: violence, dreams, empowerment, collabo- Through analysis of documentation gathered from case
ration, evaluation. data and videos, using examples of cases followed up
Mandana Ahmadi works for the Music Therapy Com- in 6 years of work, the presenter describes the value of
munity Clinic in Cape Town as a music therapist and the music, voice and silence in relationship during the
accompaniment of the terminally ill. Particular attention
will be given to: a) how musical improvisation is central
1 Although the term ‘Coloured’ might be seen as an offensive in the relationship with terminal patients; b) how the
term to an international audience, in South Africa it is a term music therapist cope musically with the abrupt end of
comfortably used by many ‘people of colour’ to describe their
relationship when the patient dies unexpectedly; c) the
specific cultural group. The presenters agree with Zimitri Eras-
mus when he says: “There is no such thing as the Black ‘race’. importance of (group)supervision to integrate this exis-
Blackness, whiteness and colouredness exist, but they are cul- tential part of the relationship with patients who will die,
tural, historical and political identities.” (Erasmus 2001, p.12) and d) the value of music improvisation as support to
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 55
the music therapist to confront the complexity and the The presenter will illustrate different occasions where
challenge to stay close to the patient in the final days. musical interventions are important for the results with
the help of video excerpts from clinical work (Bergs-
References
tröm-Isacsson & Larsson, 2008).
Aldridge, D. (Ed.) (2001). Music Therapy in Palliative Care -New
voices. London: Jessica Kingsley. References
Aldridge, D. (2000). Music Therapy: Performances and narra- Merker, B. & Wallin, N. (2001). Musical responsiveness in the
tives. Musictherapy World “Research News I” November. Rett Disorder. In Kerr & Witt Engerström: Rett disorder and the
Wigram T. (2004). Improvisation. Methods and techniques for developing brain. New York: Oxford University Press.
music therapy clinicians, educators and students. London: Merker, B, Witt Engerström, I & Bergström-Isacsson, M.
Jessica Kingsley. (2001). Music and the Rett disorder: the Swedish Rett Center
survey. NJMT, 10(1), pp 42-53.
Keywords: Improvisation, Relationship completion,
Elefant, C. (2002). Enhancing communication in girls with Rett
End of Life, Palliative Care, Hospice.
syndrome through songs in music therapy [PhD]. Aalborg: Aal-
Mariagrazia Baroni. Graduate in Musicology, classical borg University.
pianist and music therapist. She works with elderly Bergström-Isacsson, M & Larsson, G. (2008). The Musement.
suffering from chronic degenerative illnesses and with DVD. Östersund: Swedish Rett Center.
terminally ill patients at the Hospice in Reggio Emilia
Keywords: Rett syndrome, value of music, communi-
(Italy).mariagrazia.baroni@alice.it
cation, music and movement
Märith Bergström-Isacsson is a music therapist at the
Swedish Rett Center, responsible for the music in spe-
THE VALuE OF MuSIc IN EVERYDAY cialized healthcare, research and information. She is
LIFE WORKING WITH RETT SYNDROME also a PhD student at Aalborg University.
marith.bergstrom-isacsson@jll.se
Bergström-Isacsson, Märith - Sweden
marith.bergstrom-isacsson@jll.se
disturbed for therapy, we find that music therapy can outcome measure which reflected the benefits of the
play an important part in the acute phase treatment. We project. As a result the ‘Individual Recording Sheet’
have met no hostility at all from patients, and most of (IRS) was developed. The IRS is a two-page tick-box
them really appreciate music therapy. In our paper we sheet with nine patient response types broken down
will present the outcome of the pilot, elaborate on case into a four-point scale grouped across four domains,
studies, and give advice on how to work as a music the- namely cognition, communication, emotional expres-
rapist on a closed ward. sion, and physical presentation. The benefits of the IRS
noted thus far include (a) providing a succinct summary
Keywords: clinical practice, adult psychiatry, acute
of each session (b) assisting with the development of
phase treatment, mobile music therapy.
clear goals (c) noting clinical change over time, and (d)
Albert Berman. Works for more than eighteen years as communicating the effects of music therapy with the
a music therapist at the Symfora group, psychiatric cen- multi-disciplinary team. The IRS is now being incorpo-
tre Zon & Schild, in Amersfoort, the Netherlands. He is rated into the planning stages of research with the aim
co-author of the Dutch professional profile for music of ultimately helping to inform music therapy practices
therapy (2009) and is also former vice-president of the across a wider HD population.
Dutch Association for Creative Arts Therapies.
References
albertberman@tiscali.nl
Daveson, B. (2007). Findings of an audit of music therapy re-
Rianne Wassink. Fourth year student music therapy at ferrals in a specialist in-patient setting for 16 patients with ad-
the Hogeschool Utrecht in Amersfoort. She also studies vancing Huntington’s disease. Australian Journal of Music
piano at the Utrecht conservatory. She has recently star- Therapy, 18, 2-19.
ted doing research on music therapy at the closed ward Davis, G., & Magee, W. (2001). Clinical improvisation iwthin
of Zon & Schild in Amersfoort. neurological disease: Exploring the effect of structured clinical
rianne.wassink@gmail.com improvisation on the expressive and interactive responses of
a patient with Huntington’s disease. British Journal of Music
Therapy, 15(2), 51-60.
Magee, W. (1995). Case studies in Huntington’s disease:
OuTcOME MEASuRES: AN ‘INDIVIDuAL Music therapy assessment and treatment in the early to ad-
REcORDING SHEET’ FOR PEOPLE vanced stages. British Journal of Music Therapy, 9(2), 13-19.
LIVING WITH HuNTINGTON’S DISEASE Siesling, S., van Vugt, J., Zwinderman, K., Kieburtz, K., & Roos,
K. (1998). Unified Huntington’s disease scale: A follow up. Mo-
Bodak, Rebeka - uK vement Disorders. 13(6), 915-919.
rbodak@rhn.org.uk Thaut, M., McIntosh, D., Miltner, R., Lange, H., Hurt, C., &Ho-
emberg, V. (1999). Velocity modulation and rhythmic synchro-
nisation of gait training in Huntington’s disease. Movement
Abstract Disorders, 14(5), 808-819.
psychological aspects of pediatric oncology/hematol- in Assisi). Lab/music therapy activities for Umbria re-
ogy as applying research protocols is difficult when gion organizations and after school educational activi-
ages range from 1-18 years. To improve ideation and ties with under age kids for public/private organizations.
vitality, stimulate cognition and liberating-expression, sonolorenzo@libero.it
physic-dynamic processes in children whit onco-hae-
Maria Dolores Rossi. Diploma in music-therapy (Le -
matological diseases who varied in age, social and eth-
cco), Hospital of Saronno and Perugia (MI), Music
nic origins, a music-therapy team provided support
Scool in Rozzano (MI). mariolina.rossi@libero.it
therapy in co-operation with physicians, nurses, volun-
teers, school teaching and physiotherapy staff, and par-
ents, active in the fases of diagnosis, ongoing therapy
and end-stage disease
ISSuES OF ATTAcHMENT AND
Aims: This pilot study was designed to assess feasibility SEPARATION WITHIN PARENT –
and usefulness of an innovative music-therapy model
TODDLER GROuPS IN A
and create a psycho-oncology team in a pediatric On-
cology/hematology Unit.
cHILDREN’S HOSPIcE
form of control and enhancing the relationship between Youth culture shapes the music therapy sessions, and
therapist and client into a process where traumatic ma- everything from Xfactor re-enactments, Ipods and You-
terial can be digested throughout the music. A free tube, play important parts in the work. Sessions are ‘on the
improvisation, with its inherent traumatic nature, some- go’ and filled with the language and trends, which
times proved to be threatening and overwhelming, teenagers are familiar with. This is where we have to start
thereby often resulting in a dysregulation. We also ex- and from which point we begin relating to one another.
perienced that even playing techniques are not always Rather than waiting and responding, teenagers react to
safe enough, while receptive music therapy on the con- chat, action and ideas, and coming up with their own
trary may open up a musical sphere to safeguard con- plans, such as making up music videos, dancing and play-
trol for the client, thus creating a place of rest where ing. I shall show how the use of listening to pre-recorded
client and therapist can co-exist in a contained and safe music, talking, drawing on the board, watching movies as
medium. This musical space may well form the prelimi- well as creating live music can play important parts in
nary condition, out of which a more active musical inter- the teenager’s therapeutic journey. I shall illustrate my
action can evolve. approach with case studies and video extracts of the work.
References References
Dosen, A. (1990). Psychische en gedragsstoornissen bij zwak- Alvin J. (1975). Music Therapy London: John Claire Books.
zinnigen: een ntwikkelingsdynamische benadering. Meppel, Priestley, M. (1975). Music Therapy in Action London: Constable.
Boom.
Bowlby, (reprinted 2008).The making and braking of affectional
Keywords: Method, youth culture, teenagers, exclu-
bounds. London & New York: Routledge. sion, behavioural difficulties.
Keywords: child psychiatry, learning disabilities, aggre- Philippa Derrington works at a secondary school and
ssion. is currently investigating the effectiveness of music
therapy for young people at risk of under-achieving and
Marieke Degryse achieved her bachelor in psychology exclusion, towards her PhD, funded by the Music
and her Master in music therapy in Belgium. She joined Therapy Charity. PDerrington@cvcweb.net
the music therapy centre in Mostar (BiH), where she
worked with traumatized children in a post-war environ-
ment.Currently employed in the child psychiatry depart-
ment of the St Guislain hospital in Gent, Belgium. MuSIc THERAPY SuPPORTED
marieke_degryse@yahoo.com BY NEW TEcHNOLOGIES
Dionísio corrêa, Ana Grasielle - Brazil
anagrasi@lsi.usp.br
«THAT’S SIcK, BRuV, LISTEN!» Karaguilla Ficheman, Irene - Brazil
LOOKING AT WAYS TO ENGAGE irene@lsi.usp.br
WITH TEENAGE HOODIES do Nascimento, Mariaelena - Brazil
(AND X-FAcTOR HOPEFuLS) marilena.nascimento@gmail.com
de Deus Lopes, Roseli - Brazil
Derrington, Philippa - uK
roseli@lsi.usp.br
PDerrington@cvcweb.net
Abstract
Abstract
We have created an augmented reality musical system
In this presentation, I will reflect on my music therapy to facilitate music access of individuals with physical
work with teenagers who are excluded from school. The problems in their hands. The software adds to the real
majority of these students have emotional difficulties, world objects that simulate virtual music instruments. Ins-
demonstrate challenging behaviour and are involved in trument sounds are played through contact with the ins-
crime on a regular basis. They can find it particularly trument. With the developed software application, it is not
difficult to focus, play musical instruments and improvise necessary to apply muscle strength neither to put
in ways, which we might hope and expect using tradi- adapters in the patients hands. Some patients have
tional therapeutic means. Alvin’s model of improvisa- hypotonic hands and cannot keep their fingers bent over
tional music therapy (1975) and Priestley’s model of the keyboard or do not have enough muscle power to
analytically oriented music therapy (1975) have influ- play percussion instruments. In those cases, adapters
enced my approach. However there are some defining are necessary, for example, tips on the hands to play the
factors which I have found that work particularly well and piano (or electronic keyboard) or a support to the tam-
appear key to a method that has come about through bourine so both hands can be used. Often the aid of
my work with these young people. music therapists is essential to develop musical activities.
60 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress
Roseli de Deus Lopes is Phd. in Eletrical Engineering Heal, M. & Wigram, T. (1993). Music Therapy in Health and
and teacher of Polytechnic School of University of São Education. London: Jessica Kingsley Publishers.
Paulo. roseli@lsi.usp.br Langenberg, M.; Aigen, K. & Frommer, J. (1996). Qualitative
music therapy research-beginning dialogue Gilsum: Barcelona
Publishers.
Wheeler, B.L. (1995). Music Therapy research. Quantitative and
qualitative perspectives Phoenixville: Barcelona Publishers.
Wigram, T. & De Backer, J. (1999). Clinical Applications of
Music Therapy in Developmental Disability, Paediatrics and
Neurology. London: J. Kingsley Publishers.
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 61
the time. They were then asked to discuss their impre- provisations were analyzed according to the phe-
ssions in a focus group. Results showed that the MAP nomenological analysis model suggested by Forinash
was highly appreciated by the participants. One recu- & Gonzales (Forinash & Gonzales, 1989; Forinash &
rring complaint was that the MAPing took too long. Grocke, 2005) though several adaptations were made
to match the requirements of the current study. Alto-
In addition to these studies, two variants of the MAP,
gether, 42 improvisations were analyzed and it was of
which were tailored for specific clinical-research requi-
interest to examine whether they could be classified into
rements, will be presented. The D-MAP is intended for
defined categories and if these categories could be or-
the analysis of dyadic treatment in music therapy and
ganized along some sort of hierarchy or continuum.
the simple-MAP is intended for studies in which time
constraints do not enable a detailed description of the The analysis resulted in seven types of improvisations
treatment. Time will be given to discuss possible ideas which could be considered as different «musical to-
for further development of the MAP. kens» of these children. The types were: «Lost», «anx-
iously on my own», «comfortably on my own», «holding
References
back contact», «accepting contact», «initiating contact»,
Bergstrom-Nielsen, C. (1993). Graphic notation as a tool in
and «reciprocity» It was found that these types could be
describing and analyzing music therapy improvisations. Music
arranged along a continuum according to the position
Therapy, 12(1), 40-58.
of the child towards the therapist (the «other»). At one
Gilboa, A. (2007). Testing the MAP: A graphic method for des-
extreme of the continuum were those positions in which
cribing and analyzing music therapy sessions. The Arts in
the child was most disconnected from the therapist and
Psychotherapy, 34(4), 304-320.
on the other extreme those positions in which the child
Gilboa, A., & Bensimon, M. (2007). Putting clinical process into
was highly connected to the therapist. In addition, it was
image: A method for visual representation of music therapy
found that there is a connection between the therapeu-
sessions. Music Therapy Perspectives, 25(1), 32-42.
tic progress of the children and the ‘positions’ they were
Forinash, M., & Gonzalez, D. (1989). A phenomenological
conveying in their improvisations. As the treatment pro-
perspective of music therapy. Music Therapy, 8(1), 35-46.
gressed in time the ‘positions’ they conveyed indicated
Langenberg, M., Frommer, J., & Tress, W. (1993). A qualitative
higher levels of contact.
research approach to analytical music therapy. Music Therapy,
12(1), 59-84. Results are discussed in light of Schumacher & Calvet’s
(1999) theorization regarding autistic children and in light
Keywords: Graphical notation, Describing music the-
of other theoreticians from the general psychothera-
rapy, Analyzing music therapy, Usability.
peutic literature on autistic children (Alvarez, 1999;
Avi Gilboa. Phd is a music therapist and an experimen- Tustin, 1999).
tal psychologist. He has clinical experience working
References
with autistic children and children in hospitals. His fields
of research include music and emotions and social and Forinash, M., & Gonzales, D. (1989). A phenomenological
perspective of music therapy. Music Therapy, 8 (1), 35-46.
cultural aspects of music. He is currently a lecturer in
the Music Therapy Program at Bar-Ilan University, Israel. Forinash, M., & Grocke, D. (2005) Phenomenological inquiry.
gilboaa@mail.biu.ac.il | gilboaa@yahoo.com In B. L. Wheeler (Ed.) Music therapy research (second edition)
(pp. 321-334). NH: Barcelona Publishers.
Gold, C., Wigram, T., & Elefant, C. (2006). Music therapy for
autistic spectrum disorder. Cochrane Database of Systematic
Reviews, Issue 2. Chichester, UK: John Wiley &Sons.
TRYING TO uNDERSTAND THE
Gold, C., Wigram, T., & Jinah, K. (2009). Emotional, motiva-
MuSIcAL LANGuAGE OF HIGH tional and interpersonal responsiveness of children with autism
FuNcTIONING PDD cHILDREN in improvisational music therapy. Autism, 13 (4), 389-409.
Schumacher, K. & Calvet, C. (1999). The “AQR” – an analysis
Gottfried, Tali
system to evaluate the quality of relationship during music
taligott@bezeqint.net therapy. Nordic Journal of Music Therapy, 8 (2), 188-191.
Gilboa, Avi- Israel
Keywords: high-functioning PDD, musical improvisa-
gilboaa@mail.biu.ac.il tions, qualitative research, phenomenological analysis
model.
Abstract Tali Gottfried. MA, is a music therapist specialized in
treating PDD children. Conducted a clinical research in
In this lecture we would like to get a deeper understand-
music therapy in order to receive a Master’s Degree at
ing of the musical language of high functioning PDD
Bar-Ilan University, Israel. taligott@bezeqint.net
children. The lecture is based on a study in which we
analyzed musical improvisations taken from various Avi Gilboa. PhD is a music therapist and an experimen-
stages of the music therapy treatment of six clients bet- tal psychologist. He has clinical experience working
ween the ages 3-6, diagnosed with PDD-NOS. The im- with autistic children and children in hospitals. His fields
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 63
of research include music and emotions and social and christina Kalliodi (MA MT) works with children and
cultural aspects of music. He is currently a lecturer in adolescents with learning disabilities, autism and emo-
the Music Therapy Program at Bar-Ilan University, Israel. tional difficulties at the Greek Centre for Mental Health
gilboaa@mail.biu.ac.il and Research and the Child Psychiatric Hospital of
Athens. christinakalliodi@yahoo.gr
Dimitris Koukourakis (PgDip.MT), has been working as
EMBARKING IN MuSIc THERAPY PEER music therapist in mental health settings with adults and
adolescents since 2004. He is also works in a day centre
SuPERVISION: WHERE IS THIS BOAT
with children with autism koukdim@hotmail.com
TAKING uS?
Goni, Stella - Greece
gstella@hotmail.com EVIDENcE-BASED PRAcTIcE IN EARLY
Kalliodi, christina - Greece cHILDHOOD MuSIc THERAPY:
christinakalliodi@yahoo.gr A DEcISION MAKING PROcESS
Koukourakis, Dimitri - Greece
koukdim@hotmail.com Kern, Petra - uSA
petrakern@musictherapy.biz
Abstract
Abstract
Newly qualified music therapists tend to rely on super-
vision to deal with challenges/issues arising in clinical The term «evidence-based practice» is now used widely
work. In Greece however, music therapy supervision in healthcare, education, and other fields. Yet there is
cannot be taken for granted, as music therapy is a new no final consensus on its definition and application in
profession and there is no recognized supervision the field of music therapy. Evidence-based practice al-
scheme yet. As a result, all three of us initially counted lows practitioners to identify the best available interven-
on supervision provided by psychiatrists/psychothera- tions, strategies, and support for clients and bridges
pists at our work places. Being supervised by non the gap between clinical practice and research.
music therapists did not feel adequate, as it seemed to This presentation discusses the rationale for being an ev-
overlook the musical aspects of clinical work. This situa- idence-based practitioner, the components defining evi-
tion led us to form a peer supervision group which will dence-based practice and proposed standards in related
be discussed in this presentation. fields for consideration in early childhood music therapy.
We start with a reference to the history and theory of A five-step evidence-based practice decision-making
peer supervision, and continue by illustrating the collec- process as proposed by the early childhood field in the
tive and personal experiences of our trajectory. In order USA is introduced and explained how it can be applied
to better understand and evaluate these experiences, to a music therapy sample case scenario related to
we structure their discussion around a number of ques- autism spectrum disorder. Knowledge, experiences, and
tions pertaining to some key issues. These issues in- values to the decision-making process as well as finding
clude: (i) the effect of the peer supervision group on the sources for the best available research evidence and
members’ clinical practice and development of thera- day-to-day applications will be discussed from a music
peutic identity; and (ii) the examination of the nature and therapy perspective. Future directions and recommen-
dynamics of the group. Finally, we discuss our conclu- dations for the field of music therapy will be presented.
sions and how these affected our group’s future life.
References
References
AMTA (June, 2007). Fact Sheet: Music Therapy and Evidence
Forinash, M. (2001). Music Therapy Supervision. Philadelphia: Based Practice (Draft). Silver Spring, MD: Author.
Barcelona Publishers.
Buysse, V., Wesley, P. W., Snyder, P., & Winton, P. (2006). Evi-
Merrill, T. (1999). ‘Staying Alive in our Work: A group’s experience dence-based practice: What does it really mean for the early
in peer supervision’. Canadian Journal of Music Therapy VI (2). childhood field? Young Exceptional Children, 9 (4), 2-11
Odell Miller, H. & Richards, E. (eds) (2009). Supervision of Council of Exceptional Children (2006). CEC Evidence-Based
Music Therapy: A theoretical and practical handbook. London: Professional Practice Proposal. Arlington, VA: Professional
Routledge. Standards and Practice Committee.
Keywords: peer supervision. Sackett, D.L., Straus, S.E., Richardson, W.S., Rosenberg, W.,
& Haynes, R.B. (2000). Evidence based medicine: How to prac-
Stella Goni is a music therapist (PgDip.MT) and social tice and teach EBM. (2nd ed.). London: Churchill Livingstone.
worker. She offers group MT sessions in a mental health
Reichow, B. , Volkmar, F. R., & Ciccetti, D. V. (2008). Develop-
Day Centre for adults and also works in special schools
ment of the evaluation method for evaluating and determining
as a social worker. gstella@hotmail.com
64 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress
evidence-based practice in autism. Journal of Developmental Cole, M. (1996). Cultural Psychology. Harvard University press,
Disorder, 38, 1311-1319. London.
Keywords: Evidence-Based Practice, Early Childhood Martinhusen, E. & More, C. & Schjeldrup, L. (2005). Nye
metoder i barnevernet,Fagbokforlaget, Bergen.
Education, Music Therapy, Autism.
Stige, B. (2002). Culture-Centered Music Therapy. Barcelona
Petra Kern. PhD is a clinician, researcher, and educator Publishers, Gilsum.
in music therapy. She is an internationally known speaker
and the recipient of the AMTA 2008 Research/Publica- Keywords: Child welfare, participation, self-help group,
tions Award. Dr. Kern is the President of the World Fede- cultural psychology, community music therapy.
ration of Music Therapy and owner of the California Viggo Krüger. Music therapist since 1999, educated in
based company Music Therapy Consulting. Sandane, Norway. Practice music therapy with children
petrakern@musictherapy.biz and adolescents living under care of child welfare. Phd
student since 2006 at GAMUT, University of Bergen.
viggokru@online.no
MuSIc AS A MuLTI-FuNcTIONAL TOOL
IN A cHILD WELFARE SETTING
MOTHER AND DAuGHTER IN MuSIc
Krüger, Viggo- Norway
THERAPY - SOuND SPAcE STuDY,
viggokru@online.no
AND ITS «uNIVERSALITY»
IN MuSIcOTHERAPY
Abstract Mahé Mongiorgi, Félicie - France
There are a growing number of research literatures show- felicie.marie@wanadoo.fr
ing the need for more knowledge about how to help young Parbeau, Genevieve - France
people and their families living under care of child welfare
cantapsy@orange.fr
in Norway. This paper will present clinically work from a
community music therapy project conducted in context of
a child welfare institution. Findings from qualitative inter- Abstract
views will be presented. Preliminary categories retrieved
from an ongoing analyzing process, using constructive The importance of music for the mentally disabled
grounded theory as research method, shows how partici- adults, who are completely or partly deprived of spe-
pants in the project experience different aspects of music ech, has brought us to use music therapy in our «me-
in use. Examples of such aspects are related to how music dical and social institution» for over 30 years now.
can be used in everyday situations, how music can be Following the request of a psychotic adult patient, an
used in order to maintain or facilitate relationships to family innovative work in family music therapy took place in
members, friends and other significant persons and how 2004. The separation of a mother from her daughter
music serve as a tool to participate in ritual settings. after the latter's birth –due to medical reasons– resulted
in a damaged mother and daughter relationship. Our
This paper is part of a Phd. research project called work focused on that relationship.
Music–narrative–community, a resource and community
approach to music therapy in child welfare. The aim of Both the mother and daughter attended weekly music
this project is to develop a theoretical understanding of therapy sessions for the duration of three consecutive
music therapy as an approach to child welfare based years, with two music therapists present in each. The
on perspectives of cultural psychological and commu- observations, dynamics, outcomes and general work
nity psychology. These perspectives contain concepts throughout the sessions have been analyzed in coope-
and models suitable for studying processes related to ration with the group of clinical research of the Nantes
childhood and adolescent of young people living in child institute of music therapy. Attempting a global approach
welfare institutions regarding processes of learning and of the therapeutic processes involved, this conference
socialisation. The study is motivated by a societal need (seminar) examines how musical choices have had a
for listening to the young people’s voices in order to pro- direct influence on the evolution of the family therapy of
mote participation and to prepare for resilience factors these two women.
such as mastery, belonging and continuity. Keywords: Family music therapy - psychosis - Sound
References pace - universality.
Dalton, J. H. & Elias, M. J. & Wandersman, A. (2001). Com- Félicie Mahé Mongiorgi. Music therapist with mentally
munity psychology: Linking individuals and communities. disabled adults in medical social institution since 20
Wadsworth, Belmont . years, member of the Nantes Musictherapy Institution
Charmaz, C. (2006). Constructing grounded theory, Sage Research Group. Member of France Musicotherapy.
publications, London. felicie.marie@wanadoo.fr
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 65
Genevieve Parbeau. Clinical Psychologist. Music the- Blackburn R (1992). On Music Therapy, Fairy Tales and End-
rapist, with mentally disabled adults in médical social ings. JBMT Vol 6, No. 1.
institution since 27 years. Member of the Nantes Mu- Braginsky, D and B Braginsky (1971). Hansels and Gretels:
sictherapy Institution Research Group. Choir conductor Studies of Children in Institutions for the Mentally Retarded
and singer. Psychophonie's experience. New York: Holt, Reinhart and Winston Inc.
cantapsy@orange.fr Cameron C (2008). ( Re-told by) «Hansel and Gretel» Ladybird
Books Department of Health (2009) Valuing People Now: A
New Three Strategy for People with Learning Disabilities
commented on having transcended their expectations understanding and an art of living, are taken up for further
of themselves, playing, singing and writing in ways that discussion regarding how client’s expression can be
resulted in feeling more confident. The importance of treated under the condition of the unstable and difficult
emotional and personal expression was noted by many, situation of self expression. These viewpoints suggest
which they felt was grounded in a sense of being ac- the attitude that music therapist need not to always direct
cepted ‘just as I am’. These findings resonate with other client’s expression towards the fixed musical-therapeutic
examinations of music therapy group work with adoles- goal, but may regard it as singular, omni-directional po-
cents (McFerran, 2010). Examples of songs written by tentiality. Moreover the author conceives the perspective
the group will be used to illustrate these outcomes. to illustrate and understand music therapy process as a
musical event, from these points.
References
Loewy, J.V. & Frisch Hara, A. (Eds.). (2007). Caring for the care- Finally, the author likes to point that this discussion in-
giver: The use of music and music therapy in grief and trauma. volves not only the methodology of case study re-
Silver Spring, MD: The American Music Therapy Association. search, but also the most fundamental question which
McFerran, K. (2010). Music, music therapy and adolescents: rethinking the music therapy field as a whole.
Methods and techniques for clinicians, students and educa-
References
tors. London: Jessica Kingsley Publishers.
Ansdell, G.(1995). Music for Life. Jessica Kingsley Publishers,
Pavlicevic, M., & Ansdell, G. (Eds.). (2004). Community Music
London, 61-62, 1995.
Therapy. London: Jessica Kingsley Publishers.
Ansdell, G.(2003).The stories we tell: some meta-theoretical
Stige, B. (2002). Culture-centered music therapy. Gilsum, NH:
reflections on music therapy. Nordic Journal of Music Therapy,
Barcelona Publishers.
12(2), 152-159.
Sutton, J. (Ed.) (2002). Music, music therapy and trauma: In-
Gustorff, D.(2002). Songs without Words: Music Therapy with
ternational perspectives. London: Jessica Kingsley Publishers.
Coma Patients in Intensive Care.
Keywords: Trauma, adolescents, community music http://www.musictherapyworld.de/modules/archive/stuff/
therapy, song writing, group work. papers/17.PDF
Herkenrath, A. (2005). Encounter with the conscious being of
Katrina McFerran. PhD is an experienced Australian
people in persistent vegetative state. Music Therapy and Neu-
clinician, having specialized in working with teenagers rological Rehabilitation-Performing Health, David A. (Ed.), Jes-
across a range of settings for the past fifteen years. She sica Kingsley Publishers, London, 149-150.
also conducts research and publishes on this topic. Miyake, H.(2008). Rethinking music therapy from the perspec-
k.mcferran@unimelb.edu.au tive of bio-politics. Voices: A World Forum for Music Therapy,
vol.8 (3). http://www.voices.no/mainissues/mi40008000284.php
struments in active music making, in order to express member of several scientific and editorial boards, Vice-
their emotional state and aggressive tension. By playing President of EMTC and ISMM. mnoeckrib@aol.com
together, they gain a sense of control over themselves.
Andreas Wölfl. Music therapist, supervisor, psychothe-
This music therapeutically directed way of playing mu-
rapist for children and adolescents, works at Munich
sic together leads to experiencing tension in a positive
Children and Adolescents Psychiatry and in private
light and increases self and group awareness. For chil-
practice. He is chairperson of the postgraduate Music
dren at this age, rhythmic drumming with simple playing
Therapy Training at Freies Musikzentrum in Munich/Ger-
instructions increases motivation and conveys in a
many. awoelfl@freies-musikzentrum.de
creative way positive experiential qualities at different
levels of awareness (conscious and subconscious).
Transference of these clinical experiences is made
possible in this music therapy program. Regulation of A PILOT PROJEcT; IDENTIFYING AND
affect and aggression, resolution of conflict situations, EVALuATING THE IMPAcT OF MuSIc
avoidance and resistance of threatening situations and
THERAPY
constructive handling of aggression can be produced
and practiced musically, within a thematic framework. O’connor, Rebecca - uK
The expression of aggressive qualities in improvisa- oconnor@panoram.co.uk
tional drumming is helpful in distinguishing between
destructive and constructive forms of behaviour. Within
the group, it is possible to work on constructive forms Abstract
in dealing with aggression.
There are an increasing number of studies reporting the
Working creatively on these areas promotes reciprocal application of music therapy in rehabilitation settings
respect, acceptance of individual differences and social providing the evidence for the potential positive benefits
integration. Particularly in classes with migrant children of music therapy with people who have had an ac-
from diverse cultures, experiencing common rhythmic quired brain injury. (Gilberston and Aldridge 2008). Pa-
improvisation can lead to a breaking down of barriers. rents of children who have had an acquired brain injury
Despite verbal and social differences, an emotionally sta- and staff at the National Rehabilitation Hospital, Dublin
bilizing feeling of togetherness can develop, experienced (NRH) identified the need for a music therapy service
in a playful manner and therapeutically supported. and raised funds to pay for a senior music therapist to
undertake a pilot project.
This program strengthens a sense of belonging within
the class community and increases the students’ indi- A one-year music therapy pilot project took place at the
vidual creative potential and the capacity to work to- N.R.H. to identify the contribution that music therapy
gether, cooperatively and goal oriented. We will report can make to an interdisciplinary rehabilitation team
about the results of our pilot-project (evaluated by the working with children who have had an acquired brain
University of Innsbruck) after it was carried through in injury. This paper will describe the pilot project, the pro-
2009 within the daily school schedule of two Munich ject methodology, the qualitative and quantitative mea-
boarding schools. suring tools used to evaluate the music therapy service,
the positive impact that music therapy has had on the
References
interdisciplinary team and on the children who have re-
Cierpka, M. (2005). Faustlos - Wie Kinder Konflikte lösen lernen.
ceived music therapy input.
Freiburg: Herder.
Nöcker-Ribaupierre, M., Lenz, G.M., Hüther, G. (2006). Zur The importance of collaborative working to establish a
Wirksamkeit musiktherapeutischer Interventionen aus entwic- music therapy service will be discussed to outline the
klungsneurologischer Sicht. In. Jahrbuch Musiktherapie Bd. 2, impact of music therapy on the team. Brief case stud-
Reichert, Wiesbaden (137-156) ies, including video extracts of clinical work, will be pre-
Wölfl, A. (2001). Rhythmische Strukturen in Entwicklung- sented to illustrate the impact of music therapy on the
sprozessen. In: M. Passolt (Hrg): Hyperaktivität. Reinhard, children. The outcomes of the project and the evidence
München collated will be explored; as a result of this pilot project
Wölfl, A.(2006). Gewaltprävention durch Musik und Improvisa- a music therapy inpatient and outpatient service was
tion. In: Musiktherapeutische Umschau 27/3, Vandenhoeck established providing music therapy treatment as an in-
und Ruprecht, Göttingen tegral part of the children’s rehabilitation programmes.
Olweus, D. (2006). Gewalt an der Schule. Bern: Huber.
References
Keywords: violence prevention, social integration, cre- Baker, F. & J. Tamplin (2006). Music Therapy Methods in Neu-
ativity, school classes. rorehabilitation, A Clinicians Manual. Jessica Kingsley: London
Monika Nöcker-Ribaupierre Phd. Music therapist spe- Bower, J. & H. Shoemark (2009). Music therapy to promote in-
terpersonal interactions in early paediatric neurorehabilitation.
cializes in music therapy in neonatal care, and music
Australian Journal of Music Therapy Vol 20.
therapy with developmentally disabled children. She is
68 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress
Gilbertson, S. (2006) Music therapy in early neurorehabilitation and reflected upon. Key aspects such as the non-ver-
with people who have experienced traumatic brain injury. bal musical exchanges, the emphasis on the children’s
Music Therapy Today (Online 1st October). Vol. VII(3) 662-693. positive contributions and strengths, the importance of
Available at http:/musictherapyworld.net listening to and respecting the children, the role of play
Gilbertson, S. & D. Aldridge (2008). Music Therapy and Trau- and humor, and the possibilities of putting children in
matic Brain Injury, A Light on a Dark Night. Jessica Kingsley: control in constructive rather than in negative ways, will
London be explored. These explorations will form the begin-
Twyford, K. and T. Watson (2008). Integrated Team Working: nings of a theoretical framework for music therapy
Music Therapy as part of Transdisciplinary and Collaborative group interventions with this client group. Reference will
Approaches. Jessica Kingsley: London
be made to some of the existing literature on group
Keywords: rehabilitation, service evaluation, collabo- work with primary aged children in child and family psy-
rative working, ABI (acquired brain injury). chiatry, such as Spence 2003 and Drost 2006.
A MuSIc THERAPY GROuP IN cHILD Keywords: Child Psychiatry, Groups, Practice to theory.
PSYcHIATRY; DEVELOPING THEORY Amelia Oldfield has 30 years experience as a music
FROM cLINIcAL PRAcTIcE therapist, currently combining clinical work with lectur-
ing. She has completed four research investigations,
Oldfield, Amelia - uK
published four books, and produced six training videos.
amelia.oldfield@anglia.ac.uk amelia.oldfield@hotmail.co.uk
amelia.oldfield@anglia.ac.uk
Abstract
This music therapy group has been occurring on a
weekly basis for over twenty years. It is an open group
MuSIc THERAPY AND BLINDNESS:
for between three to eight children between the ages of MuSIc THERAPY FOR THE BLIND,
five and twelve years who are attending a unit for child IN cOLLABORATION WITH A
and family psychiatry. The children often have complex MuLTI-DIScIPLINARY TEAM
needs and may have diagnoses such as mild autism,
Tourette’s syndrome, eating disorders, attachment dis- Pantaleo, Renato - Italy
orders or attention deficit disorders. Many of the chil- renato.pantaleo@libero.it
dren will have suffered emotional, physical or sexual
abuse. The group has already been described in detail
with reference to case studies of specific children taking Abstract
part in the group (Oldfield 2006) and the specific roles The author describes his personal experience as music
the music therapy group plays in the diagnosis of the therapist at the «Florio Salamone» Regional Institute for
children’s strengths and difficulties has also been ex- the Blind in Palermo. The Institute has two units: the first
plored previously (Carter and Oldfield 2005). is dedicated to the visually impaired with no other de-
In this presentation the author will present DVD excerpts ficits, and provides cultural rehabilitation programmes
of group music therapy sessions to explore why and how and educational support services. The second unit re-
this group can contain and engage very emotionally ceives patients with complex clinical conditions, most of
disturbed children who may be disruptive and violent. them with cerebropathy and neuro-sensory-motor de-
Specific cases will be considered and the strengths, dif- ficit. The intervention is carried out in collaboration with
ficulties and needs of the children will be described. a multi-disciplinary team. The patients in the first unit are
The thinking behind the music therapist’s and the co- completely blind, with intact cognitive capacity. The
therapist’s actions, words and music will be outlined main objective, using free improvisation in a music
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 69
therapy setting, is to create a therapeutic process that come of therapy. A contextual model has been articula-
helps to bring out the patients’ artistic potential. ted emphasizing a broader range of factors contributing
in a therapeutic process. In such a model the client’s
This has had significant and permanent effects on self
own efforts and competence has been pointed to as
stabilization and on strengthening self-confidence, and
the most potent common factor. With the contextual
has provided genuine opportunities to pursue music-
model as a starting point I will in this paper explore the
based professional possibilities. Thus it is clear how
client’s «craft» in music therapy. I will present a theoret-
music therapy encourages integration, curbing any so-
ical exploration related to research and theory from a
cial disadvantage associated with the patient’s func-
broad interdisciplinary discourse, including psychother-
tional deficit.
apy research and positive psychology, empowerment
The approach adopted in the second unit is purely clini- philosophy and research into people’s use of music in
cal, working in close collaboration with the other mem- everyday life. In various ways these perspectives con-
bers of the team, in particular with a neuropsychiatrist, tribute to the idea of a competent client who is not only
neuropsychomotor therapist, speech therapist and or- a passive consumer of therapy. The importance of es-
thoptist when dealing with patients with low vision. The tablishing collaborative relationships based on mutual-
intervention is founded on functional integration accord- ity and equality is highlighted. Examples from practice
ing to neuroscientific indications on mirror neurons, related to a qualitative case study in mental health care
using emotions to reveal abilities to create shared mu- will be presented. Client’s «craft» in terms of compe-
sical products. tence, active involvement, control and musical skills re-
lated to the therapeutic process will be discussed.
The phases of the intervention are as follows: a) Pre-
liminary clinical evaluation; b) Interview with family References
members; c) Anamnesis and commencement of ther- Bohart, Arthur C. (2000). The Client Is the Most Important Com-
apy; d) Individual therapy sessions; e) Eventual group mon Factor: Clients’ Self-Healing Capacities and Psychotherapy.
therapy sessions; f) Eventual creation of artistic prod- Journal of Psychotherapy Integration, 10(2), 127-149.
ucts; g) Interviews and assessment of the permanence DeNora, Tia (2000). Music in Everyday Life. Cambridge: Uni-
of the effects of the therapy. versity Press.
Abstract
Abstract
In the field of adult psychiatry music therapy with babies
What does client’s do to make music therapy work? In or infants and their mentally ill mothers is a relatively new
recent psychotherapy research the medical model has subject. On the basis of first experiences on a mother-
been critiqued with regard to its exclusive focus on child-ward music therapy will be introduced as an instru-
problems and pathology as well as for the weight put ment to support the interaction of mother and child.
on the therapist’s interventions in relation to the out-
70 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress
In Individual Therapy the relationship between mother and tinctions between thinking about verbal clinical work
child comes to the force. Mothers can intensify the ac- simply in musically informed terms, and thinking about
cess to their child and the children are being supported it from a background of music therapy clinical practice.
in their bonding in spite of their mothers’ illness. In doing
This paper offers a contribution to the clinical thinking of
so music therapy uses archetypical elements like sound
music therapists at all stages of practice, since we are
and rhythm. It advances the shared ability to express
all also potentially engaged in verbal exchange with our
changes in emotion and enables bonding. Working with
patients; it may also help to locate and acknowledge the
mothers, other members of the family like fathers or broth-
contribution of clinical training in music therapy to the
ers and sisters of the children will be included.
wider range of analytically informed therapeutic tradi-
On the basis of case studies the work will be put in con- tions.
crete forms. Theoretical approaches are done to the
References
conceptions and bonding theories of D. Stern, M.
Knoblauch, S (2000). The Musical Edge of Therapeutic Dia-
Ainsworth, J. Bowlby and Grossmann & Grossmann.
logue New York: The Analytic Press.
Keywords: Mentally ill woman, infants, adult psychia- Loth , H & Richards, E (2007). ‘Is music therapy always
try, mother-child-ward, bonding. enough? A preliminary study of music therapists who pursue
further training in verbal therapies’ Paper given at 7th Euro-
ute Rentmeister. music therapist, psychotherapist
pean Music Therapy Congress, Eindhoven.
working in psychiatry. ute.rentmeister@iak-kmo.de
Rose, G (2004). Between couch and piano. London: Rout-
ledge.
Stein, Alexander (1999). ‘Well-Tempered Bagatelles-A Medita-
tion on Listening in Psychoanalysis & Music’ American Imago
THE MuSIc OF THE WORDS:
Volume 56, Number 4, Winter , pp. 387-416
PSYcHOTHERAPY AND MuSIc
Stern, D (1985). The interpersonal world of the infant London:
THERAPY Karnac
child´s immediate needs direct the process. By experi- quirement of flexibility on one hand, and of a clear and
menting and playing music the personally eminent topics supportive frame on the other, the meaning of mutual
become explicit. Often it is vital to first of all create a com- trust, and the non-obvious acquirement of that trust (5).
mon setting by playing music together. But what if the in-
Dr. chava Sekeles. Israeli music therapist and certified
struments remain untouched? Or if the music builds up
supervisor, started and organized the music-therapy
a wall as it were preventing the advance to pending to-
course at the David Yellin academic college, and served
pics? I will present examples encountered during my
as its director until retirement (1980-2002). She is a
therapeutic work that demonstrate various ways children
trained musician, occupational therapist, and music
implement different kinds of music and musical instru-
therapist. sekeles@netvision.net.il
ments. My attention lies on understanding the meaning
and purpose the musical material has in the respective
process of relationship. My musical reaction and inter-
vention will be considered from this point of view. THE ROLE OF MuSIc THERAPY WITH
Keywords: Children with special needs, Children with ANXIOuS, ScHOOL REFuSING
developmental disabilities, Psychotherapy, Viennese ADOLEScENTS
school of music therapy, Role of music in therapy.
Shipley, Amy - uK
Gabriel Schwaiger-Ludescher. Music Therapy Train- amy.e.shipley@googlemail.com
ing from the University of Music and Performing Arts Vi-
enna. Music therapist at a special education center for
children with developemental dissabilities in Vienna. Abstract
schwaiger.ludescher@gmx.at
The purpose of this paper is to show how music ther-
apy can be used to work through the identity issues
which arise for school refusing adolescents who strug-
FROM THE HIGHEST HEIGHT TO THE gle to manage the emotional and social paradoxes that
LOWEST DEPTH MuSIc THERAPY WITH manifest themselves during the teenage years.
A PARAPLEGIc SOLDIER These young people cannot manage to work through
the identity crisis that is adolescence alone, and music
Sekeles, chava - Israel
therapy can thus be used as part of a multi-modal treat-
sekeles@netvision.net.il ment approach to help them come to terms with their
identity in a safe environment. Issues such as avoid-
ance, which is a feature of both school refusal and
Abstract
music therapy with adolescents, can be addressed in
I met Dor (2) on suggestion of his nursing team at the the music therapy relationship and potentially worked
institute where he was undergoing rehabilitation thera- through with positive results.
py. In an accident that occurred by his fault, Dor su-
This paper will refer, among other things, to the work
ffered injuries at his lower spine and became paraplegic
published by Robarts (2000) and McFerran- Skewes
(3). Another soldier was slightly wounded, and a third
(2003) regarding the use of music therapy with adole-
was killed on the spot. Since Dor refused to get along
cents struggling with their sense of identity. The work of
with proposed treatments, the nursing team suggested
John Meeks in adolescent psychotherapy will also be
bringing in a music therapist from outside. At that time,
discussed.
Dor was about twenty. A regular soldier in the army and
his parent’s only child. Before the accident he was an The case studies and discussion which follow are fo-
excellent sportsman, he played electric guitar in a band cussed on the paradox of the adolescent experience,
of amateurs, he liked nature and hiking, and was known which is multi-layered and and needs to be handled
as intelligent, joyful and sociable. with care by the therapist. Within music therapy, para-
doxes can be experienced musically and often manifest
Dor’s music therapy process was based on The
as a constantly changing balance between moments
Developmental-Integrative Model in Music Therapy (4),
of chaos and calm, risk and safety, exploration and re-
which integrates neurological as well as psychological
treat. The therapist’s role within this is to be the constant
facets. The overall goal was to enable Dor to go back
reassurance that it is possible to survive the turbulent
as much as possible to his music and hobbies, and to
years of adolescence with a coherent sense of self.
take care of his psychological rehabilitation. In our first
meeting, these goals seemed to be overly ambitious References
and impossible to reach. The changes were slow and
McFerran-Skewes, K. (2003). ‘Contemplating the Na-
gradual, and required unlimited patience. In this pres-
ture of Adolescent Group Improvisations’ from Voices:
entation I shall describe and analyze the obstacle
A World Forum for Music Therapy, 1 November 2003, In-
course patient and therapist walked together, the re-
ternet web page at HYPERLINK
72 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress
exist in the clinic room, and of ways in which time itself birds» is a happening in Bergen prison. I want to illustrate
might breathe, live or be destroyed (Williams). The the process of this, and also give some example of the
paper is illustrated with audio recordings of music. songs we have recorded.
References References
De Backer, J. (2004). Music and Psychosis. Unpublished PhD Finsås, R. og Tuastad, L. (2008). Jeg fremfører, altså er jeg.
thesis, Denmark, University of Aalborg. Masteroppgave i musikkterapi. Griegakademiet, Institutt for
musikk, Universitetet i Bergen.
Ogden, T. (1997/ 1999). Reverie and interpretation: Sensing
Mortense, Bente Mari (2006). Fra fengsel til storsamfunn med
something human. London: Karnac Books.
musikken som ledsage. Masteroppgave i musikkterapi. Nor-
Sutton, J. P. (2007). The air between two hands: Silence, music ges musikkhøgskole.
and communication. In N. Losseff & J. Doctor (Eds.), Silence, Nilsen, Venja Ruud (2007). «Musikk i fengsel og frihet» et
music, silent music (pp. 169-186). Hampshire: Ashgate Pu- samfunnsmusikkterapeutisk tilbud. Hovedfagsoppgave i
blishing Ltd. musikkterapi. Norges Musikkhøgskole. Oslo
Winnicott, D.W. (1971). Playing and reality. London: Routledge. Pavelicevic, M. & Ansdell, G. (2004). Community music therapy.
Williams, P. (2007). “Making time: killing time” In: R. J. Perel- Jessica Kingsley Publishers, London and Philadelphia.
berg (ed) Time and Memory. London, Karnac Books pp47-63. Stige, Brynjulf (2002). Culture-Centered Music Therapy. Barce-
lona Publishers. Gilsum, USA.
Keywords: silence, space, trauma, musical listening
Keywords: Music in prison and freedom, community
Julie Sutton. PhD works as part of a psychoanalytic music therapy, rock culture, cd-recording
psychotherapy team headed by John, Lord Alderdice
(psychiatrist) and Prof. Paul Williams (psychoanalyst), Lars Tuastad. Working with music in and outside
based in an adult psychiatry out-patient department of prison since 2000. Phd studies in music therapy at
Grieg academy in the University of Bergen in Norway.
the NHS. She is a member of the Executive Committee
lassetuastad@hotmail.com
of the UK Association of Professional Music Therapists
(APMT) and chairs the APMT Training and Education
Committee as well as having a liaison role between UK
arts therapists and the APMT music therapy research WHEN INDIVIDuAL THERAPY IS NOT
network. She is Vice President of the European Music ENOuGH: DYADIc INTERAcTION
Therapy Confederation (EMTC) and co-chair of the TREATMENT FOR TRAuMATIzED
EMTC Registration Commission. A past Editor of the cHILDREN
British Journal of Music Therapy, she publishes, tea-
Tuomi, Kirsi - Finland
ches and lectures widely, with commitments nationally
luovat.tuulet@gmail.com
and internationally. Her first book (Music, Music The-
rapy & Trauma) was published in 2002.
emtcjulie@tiscali.co.uk Abstract
swimminggoldfish@hotmail.com
The purpose of the presentation is to introduce a new
way of working with multi-traumatized children. The
paper is based on the presenter’s long experience
JAILHOuSE ROcK – MuSIc THERAPY working as a therapist in a residential child care institu-
IN BERGEN PRISON IN NORWAY tion. In addition the presenter is conducting her PhD re-
search on the same subject in University of Jyväskylä,
Tuastad, Lars - Norway
Finland.
lassetuastad@hotmail.com
Attachment theory as a framework is acknowledged
worldwide to be a suitable approach when working with
Abstract children in care. In many cases these children have
In my paper I want to present some of my practice working been traumatized from pregnancy. They have often
with music therapy in Bergen prison in Norway since 2000. been exposed to violence, and their parents might have
A few stories from this practice field will be told. I also had substance abuse and mental health problems.
would like to introduce you to the unique project “Music Consequently the problems lay often on the field of at-
in and outside prison” and explain how this can be a good tachment.
example of community music therapy (Mortensen 2006,
Clinical experience shows that traditional individual
Nilsen 2007, Stige 2002). Together with my college Roar
music therapy seems to help these children. However
Finsås some of this was documented in our master thesis
something is missing. The gap between the therapy
(2008), and I want to explain the most interesting result for
session and every day life was too wide which empha-
you. Furthermore I want to explore the field of rock culture
sizes especially with small children. Theraplay is a
in relation to «Music in and outside prison».
structured therapy method, which focuses on the inter-
Recently I have started the work with cd-recording among action of the child and his/her primary caregiver. Com-
the inmates. Each semester the release of the cd «Jail- bining the framework of theraplay and music therapy
74 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress
methods seems to provide a powerful way to help these ing. It reveals itself when we, as a listener, focus only
children. With this approach also the disorders of at- on the timbre of a voice and not on the actual meaning
tachment can be treated better and the transferability of that what is said or sung.
of therapy to everyday life increases.
At this point, the meaning of the musical nature of the
The interaction treatment starts after a music therapy voice predominates the actual message that is con-
assessment in individual setting and an interaction as- veyed. Within a music therapeutic setting a voice is the
sessment of the primary caregiver and the child. At this most personal musical instrument. Our reactions to a
point methods such as MIM (Marcshak Interaction specific voice are determined by different parameters
Method) and WMCI (Working Model of the Child Inter- of that specific voice. However, this voice appeals to us
view) are used. The methods of music therapy, espe- in an immediate manner, despite these parameters.The
cially the possibilities of singing, are introduced. human voice can reflect both the past and present, as
well as the inter subjectivity.
The presentation focuses on children under 4 years of
age but the framework can also be applied up to ado- Being aware of the particular sound of a voice, being it
lescents. The presentation is illustrated by case exam- the patients or therapists, can induce certain effects
ples and video material. within the therapeutic process. The voice can initiate a
process of symbolisation: it can represent the absolute
References
musical nature as well as the actual language. This par-
Bowlby, J. (1998). A Secure Base. Parent-Child Attachment
adoxical situation gives the human voice, as a musical
and Healthy Human Development. USA: Basic Books.
instrument, a particular and unique statute. A number
Jernberg, A. M., & Booth, P. B. (1999). Theraplay. Helping Par- of case studies, within a psychiatric context, will eluci-
ents and Children Build Better Relationships Through Attach-
date that singing is an efficacious way to approach the
ment-Based Play.
human body and its belonging affects, as it is to sym-
Milligan, K., Atkinson, L., Trehub, S.E., Benoit, D. & Poulton, L. bolize these affects. These case studies will be illus-
(2003). Maternal attachment and communication of emotion
trated by audio examples.
trough song. In Infant Behavior & Development. 26, 1-13.
Schofield, G. & Beek, M. (2007). Attachment handbook for fos- References
ter care and adoption. BAAF adoption & fostering. Odyssey of the voice – Abitol – 2006
Trehub, S.E., & Trainor, J.L. (1998). Singing to infants: Lullabies De Backer (2004) Music and psychosis
and play songs. In C. Rovee-Collier & L.P. Lipsitt, & H. Hayne De stem en de invocatieve pulsie – Knockaert – 2002
(Eds). Adcances in infancy research, Vol. 12 (pp. 43-77). Nor-
Reverie and interpretation – Ogden – 1999
wood, NJ: Ablex.
Affect regulation, mentalization, and the development of the
Keywords: Interaction, child care, singing, early inter- self – Fonagy, Gergely, Jurist and Target - 2002
vention, theraplay
Keywords: Voice – Immediacy – Preverbal – Improvi-
Kirsi Tuomi is a music –and theraplay– therapist. She sation - Mentalization.
mainly works with children, adolescents and families
within foster field. She is conducting PhD studies and Mieke Van uytvanck. Trained as a music therapist at
also works as a trainer and supervisor. the College of Science and Art at the Lemmenstinsti-
luovat.tuulet@gmail.com tuut, Leuven. She works as a music therapist at the Uni-
versity-Center-St-Jozef, Kortenberg and in Sint- Jan-de-
Deo, Gent. mieke_vu@hotmail.com
conFidentiaLitY, PriVacY and LaFrance, A.B. (2006). Bioethics: Health care, human rights
and the law. Newark, NJ: LexisNexis.
aUtonoMY iSSUeS in tHe training
Rinas, J., Clyne-Jackson, S. (1988). Professional conduct and
oF MUSic tHeraPiStS
legal concerns in mental health practice. Norwalk, CT: Apple-
Boyle, Mary elinor - USa ton & Lange.
boylem@newpaltz.edu Ross, J.W., Bayley, C., Michel, V., & Pugh, D. (1986). Handbook
for hospital ethics committees. Chicago, IL: American Hospital
Publishing, Inc.
abstract The Nuremberg Code. (1949). Trials of war criminals before the
Nuremberg Military Tribunals under Control Council Law No.
“Whatever in connection with my professional practice 10. Nuremberg, October 1946–April 1949. Washington, D.C.:
or not in connection with it, I see or hear in the life of men U.S. G.P.O, 1949–1953.
which ought not to be spoken abroad I will not divulge
Keywords: Confidentiality, privacy, autonomy.
as recommending that all such should be kept secret...”
(Hippocratic Oath). Issues in confidentiality, privacy and Mary Boyle is Director of Music Therapy at the State
autonomy arise each day in the practice of music ther- University of New York-New Paltz. She is Chair of the
apy. Decisions on reporting styles may directly impact Commission on Research and Ethics of the World Fed-
the rights of clients in some countries and not in others. eration of Music Therapy. boylem@newpaltz.edu
Therapists seeking assistance in treatment planning
may post a question to a listserv. Therapists attempting
to assist the new therapist may inadvertently disclose
confidential or private information about a client of theirs. training and deVeLoPMent oF
The purpose of this paper is to provide a framework for tHeraPeUtic coMPetenceS oF
questions about the confidentiality and privacy of per-
MUSic tHeraPiStS: BoUndarieS
sonal health data in order to begin a discussion of what
should constitute “best practice guidelines” in music oF inner MUSicaLitY
therapy supervision and training. rocha, Margarida - Portugal
Discriminations between the terms “confidentiality” and margaridarocha68@gmail.com
“privacy” often relate to issues of a legal nature, i.e., Sabbatella, Patricia - Spain
“confidentiality,” and those of an ethical nature, “pri- patricia.sabbatella@uca.es
vacy.” The provision of health care in western nations
costa Magalhães gomes, José Luís
contains legal codes and regulations relative to confi-
dentiality of patient/client health information. Reporting - Portugal
practices may vary by country. Typically, information lurickygomes@hotmail.com
about an individual client may only include identifiable
private health information about that client. The names
or personal identifiers of other clients in a group may abstract
not be included in documentation related to participa- The Music Therapist´s training under the principles of
tion of the individual in the group. the clinical-psychotherapeutic Psychoanalytical Theory
“Privacy” is an ethical concept growing out of interpre- implies a process of personal growth of the students.
tations of the rights of the patient/client in terms of “au- This process allows an elaboration and integration of
tonomy.” “Autonomy” is closely related to the ethical the body-sound-musical material, a personal analysis
construct of “Respect for Person.” There are many of the “own internal musicality” to develop therapeutic
“Codes of Ethics” in our field. There are also many doc- competences. Concepts as “affective syntonization”
uments relating “Standards of Practice” as they are de- and “inter-subjectivity” are important in this perspective
veloped by each association. Are there common for the development of the music therapists as a clini-
elements we need to disseminate world-wide? cian, a musician and a person.
references
Singing: a PerSonaL and
Anzieu, D. (1994). L´activité de la Pensée - Émergences et
Troubles, Ed.Dunod, Collection Inconscient et culture. ProFeSSionaL need – tHe Voice
Benenzon R.O., Casiglio L., D ´Úlisse M.E., (2005). Musicote- aS PriMarY inStrUMent in
rapia e Professione tra teoria e pratica, Il Minotauro (ed), Roma. MUSic tHeraPY
Bruscia K.E., Hesser B., Boxill E.H., (1981). Essencial Com-
petencies for the practice of music therapy. Music Therapy.
Uhlig, Sylka - the netherlands
Music Therapy, 43-49. Sylka.Uhlig@han.nl
Cyrulnik, B. (2006). De Chair et d`Âme, Odilejacob. Paris
Sheiby B.B., (2001). Forming an identity as a music psy-
abstract
chotherapist through analytical music therapy supervision. In
Michele Forinash (Ed), Music Therapy Supervision (pp. 299- The voice is our primary instrument in music therapy for
334). Gilsum, NH: Barcelona Publishers. expression and communication. Through singing, we
Stern, D. (2006). O Momento Presente na Psicoterapia e na enter into the integrative process of expression and the
Vida de Todos os Dias. Climepsi Ed.: Metamorfoses. interactive process of communication. The experience
Keywords: Music Therapy Training; Music Therapy of singing can be essential for a client’s process and it
Competences; Didactic Music Therapy, Musicality; is also fundamental for the therapist’s professional de-
velopment. The therapist who sings in sessions needs
Margarida Moreira da rocha is teacher of Music Ed- to develop awareness of the personal effect and the
ucation, teacher of Special Education and Music Ther- clinical impact of the voice. The focus of this workshop
apist. She has worked with children, adolescents with is on dialogue, communication, and the nuances of
special needs and adults with disabilities for twenty acoustic symbols and multicultural influences that are
years. Since qualifying in 1995, she works, also, as a inherent in authentic human sounds.
music therapist in Musiké – Oporto. She collaborates
with ESE-IPP, as an invited teacher. Master of Psychol- This workshop is primarily experiential and will provide
ogy of Music, she is PhD student. opportunities to develop a deeper awareness of the
margaridarocha68@gmail.com voice in the body as the primary instrument for commu-
nication and expression and to further personal growth
Patricia Sabbatella. PhD Senior Lecturer in Music at in service of professional development. This is relevant
the University of Cádiz. She is Director of the Joint for therapists as well as for clients in music therapy.
Music Therapy Training Programme offered by the Uni-
versity of Cádiz (UCA, Spain) and the Instituto Politéc- references
nico do Porto (IPP, Portugal). She is involved in research Cohen, N. S. (1994). ‘Speech and Song: Implications for Ther-
activities focus on Music Education and Music Therapy apy’. Music Therapy Perspectives, 12;8-14.
with children, teenagers and adults. Shoemark, H. (2006). Infant-directed singing as a vehicle for
patricia.sabbatella@uca.es regulation rehearsal in the medically fragile full-term infant. Re-
port. Australian Journal of Music Therapy.
José Luis da costa Magalhães gomes. Clinical psy-
Uhlig, Sylka (2006). Authentic Voices, Authentic Singing. Bar-
chologist for 19 years; Psycotherapist - Bioenergetic
celona Publishers (ISBN 978-1-891278-44-4),
Analyst; Clinical Supervisor in body psychotherapy;
Psychotherapeutic formation in psychoanalysis and in Keywords: Breathe, Tone, Rhythm, Ostinato, Vocaliza-
body psychotherapies; Communications presented in tion.
Portugal, Spain and France; Scientific articles published Sylka Uhlig. Faculty member music therapy & voice
in Portugal, Spain, France and U.S.A. refering to the HAN University, Netherlands. 2009 PhD candidate
body, psychoanalysis, infantile psychoses, psycosso- Music Therapy HAN & lecturer voice workshops inter-
matics, sexuality, drug addiction, psicoterapias, etc. national. 2001 Master of Arts in Music Therapy New
Member of International Amnisty; Collaborated in the York University, USA.1998 Private Study in Oriental
«Dictionary of Feminist Criticism». Music Therapy University in Istanbul, Turkey. 1993 Ba-
lurickygomes@hotmail.com chelors in Music Therapy HAN. Since 1991 music ther-
apist in psychiatry, special education and trained in
voicework. Sylka.Uhlig@han.nl
www.touchingVoices.com
78 | ScientiFic PrograMM | PaPerS | training & accreditation | VIII European Music Therapy Congress
references
«rhYThM IN A ChAoTIC worLD» –
Briggs, J. & Peat, D. (1999). Seven Life Lessons of Chaos. Am
DYNAMIC BATUCADA – AspECTs oF Oved Publisher Ltd Tel Aviv 2001 (in Hebrew).
Co-ThErApY For GroUp oF ADo- Sekeles, C. (1994) «The many faces of the drum», Therapy
LEsCENTs wITh psYChoLoGICAL Through the Arts1 pp.7–19 (in Hebrew). Winnicott, D. (1971)
proBLEMs AND pTsD Playing and Reality, London and NY: Routledge.
The sounds and the voices are primordial structuring in observation centres in Zaragoza (Spain) will be pre-
elements for their development and personality. sented. Music therapy has been used for many years
with success in rehabilitation programmes for inmates in
We are immersed in a «sound landscape»: «sound
penitentiary settings. Music psychotherapy can be a very
space is the first psychic space» (Anzieu, 1989). The
effective psychosocial treatment in the penal system.
baby is immersed in a «melodious bath»: the mother’s
voice and her canticles, the music she supplies is a references
sound mirror that allows baby identification and calm. Bruscia, K. (1999). Modelos de improvisación en musicoterapia.
In 20 years of clinical practice, working with group/indi- Vitoria: Música, Arte y proceso.
vidual Music Therapy processes, I can assure that the Davis, W.; Gfeller, K. y Thauth, M. (2000). Introducción a la Mu-
person’s voice and musical creative potentials play an sicoterapia: Teoría y Práctica, Barcelona: Boileau.
essential part in their emotion expressions. Proposal: we González, E. (2001). Menores en desamparo y conflicto so-
are basically going to have free musical improvisation cial. Madrid: CCS.
(Barcellos, 1992) with musical instruments, vocal and
keywords: Young people, social conflict, Music and
sound expressions; breathing exercises in an attempt
emotional problems, rehabilitation centres.
to relax the existent tensions over the vocal apparatus.
Miguel Ángel Diví Castellón. Music therapist, Music
references
teacher and Musician. musicoterapiadivi@gmail.com
Anzieu, D.O (1989). Eu-pele. São Paulo: Casa do Psicólogo.
Barcellos, L.R.M. (1992). Cadernos de Musicoterapia 1. Rio de
Janeiro: Enelivros.
Robbins,C. & Robbins,C. (1991). «Self-comunications in Crea- For A CrEATIVE DIDACTICs IN MUsIC
tive Music Therapy». In Bruscia, K. Case Studies in Music ThErApY
Therapy. USA: Barcelona Publishers.
Facchini, Diana - Italy
keywords: music therapy, voice, body’s music, body
therapy. facchinidiana@libero.it
Cláudia M Carrara Lelis. Bachelor in Music Therapy,
Paraná Arts College (1988). Music Research, Uberlân- Abstract
dia Federal University (1992). Masters degree in Psy-
Creativity is the expression of the individual, aimed at
chology, University of São Paulo (2002). Bioenergetics
establishing relationships between oneself and the oth-
Analyst, Switzerland Institute of Bioenergetics (2005).
ers, oneself and the objects, oneself and nature and its
Teacher of Music Therapy in Society of Bioenergetic
effects. It is the ability of arranging the space in a func-
Analisys Lumen of Ribeirão Preto – SP – Brasil. Member
tional way, of being harmonious with a cultural reality
of APEMESP (Association of Professionals and Stu-
by defining it and operating exchanges within a milieu
dents of Music Therapy of São Paulo State) – Brasil.
both learned and popular. The spontaneous, daily,
clelis@terra.com.br
common man’s creativity is the one that discovers the
routes of inborn music, acquiring force through experi-
ences and corroborating itself with learning.
In music therapy we always refer to this music made of
workshop oN AppLIED MUsIC
inborn and acquired qualities, we stimulate it and interact
ThErApY IN YoUTh CENTErs with it in order to establish communicative relationships,
Diví Castellón, Miguel Ángel - spain which become possible thanks to these interventions.
Facchini, Diana. Music therapist; musician; musicolo- keywords: musical improvisation, group music thera-
gist; teacher of music and didactic co-ordinator in state py, silence, beginning, ending.
schools; ISFOM director; teacher and supervisor in MT simona katz Nirensztein. Music therapist and pianist,
Training Courses at ISFOM (Naples), AIAS (Cosenza); trained at David Yellin College, AD Rubin Academy,
ISMEZ (Foggia); supervisor of MT plans in schools and Jerusalem, MA Psychoanalytic Observational Studies.
re-habilitation. facchinidiana@libero.it | info@isfom.it Co-founder vicepresident of Shir, keynote speaker at
the 7th European Music Therapy Congress; works with
children and adults with emotional problems, with
women in oncology. snirensztein@suonoesilenzio.it
FroM ThE BEGINNING To ThE END:
EXpLorING ThE BEGINNING AND Ferdinando suvini, musician (collaborated La Scala
ENDING oF GroUp IMproVIsATIoN Theatre, taught Cello Conservatory, Milan), as musicte-
rapist trained at Bristol University, clinical work with
katz Nirenstzein, simona - Italy autistic children; teach in MT T.Courses (Conservatory
snirensztein@suonoesilenzio.it and University); Publication books and articles; Mem-
suvini, Ferdinando - Italy ber of Scientifc Commettee and presenter of European
and World MT Conferences; President Shir and Italian
ferdisuvini@libero.it
Professional Association, Vice President E.M.T.C.
De Backer, Jos - Belgium ferdisuvini@libero.it
jos.debacker@scarlet.be
Jos de Backer, PhD is Professor at the College of Scien-
ce & Art, campus Lemmensinstituut (Leuven) of music
Abstract therapy and head for the Master training course Music
Therapy in association with the K.U.Leuven. He is Head
Musical improvisation is the core method in the music of the Music Therapy Department at the Psychiatric Uni-
therapy training course of SHIR. In this workshop we versity Centre-K.U.Leuven, campus Kortenberg. Presi-
want to focus on the therapeutic relevance of the be- dent of the European Music Therapy Confederation
ginning and the ending of a musical improvisation. We (EMTC). jos.debacker@scarlet.be
can state that the way a patient or group is beginning
an improvisation reflects the inner dynamic, pathology,
projection, fantasies and expectations to the group and
the therapist. The movements of transference are hEALTh AND pAThoLoGY IN ThE
mostly alive at this moment, and the same is true for DYNAMICs oF MUsICAL
the therapist’s counter-transference.
sTrUCTUrE AND rELATING: A
It is important to observe the way the ending of an im- psYChoANALYTICALLY INForMED
provisation is connected with its beginning. In the work- pErspECTIVE
shop we will work on refining the awareness of what can
be heard in the post resonance or silence after the im- Lawes, Martin - Uk
provisation; what goes through the members of the martin.mt@virgin.net
group and the therapist in those moments is often
mostly intense and full of therapeutic significance.
Guiding by the silence, knowing when and how to Abstract
give a new sound, a musical or verbal sound, is defi- This workshop will introduce a model through which we
nitely one of the delicate tasks of a music therapist. can understand health and pathology as manifest in the
By exploring the beginning and ending of one or two dynamic structure of musical form. A brief outline of the
group improvisations, recorded by a video camera, we theoretical background will be given, drawing on the
will analyse and examine their significances for the mu- work of psychoanalyst Thomas Ogden, who follows in
sical and therapeutic process of an improvisation. We the tradition of Klein and Bion. Ogden proposes that
will examine the different musical modalities of the be- our ongoing psychological experience results from the
ginning and ending of an improvisation, and their po- interplay of three different modes of organizing experi-
ssible significance in psychodynamic terms, with an ence (1989, 1994). Ogden’s work has a particularly
84 | sCIENTIFIC proGrAMME | workshops | VIII European Music Therapy Congress
useful application to music therapy, as it can be sug- as somebody else´s, thus aiding and increasing the
gested that we experience the interplay of these three perception of sound-Human Being units, as a means
through the way they are directly sounded in music. to develop these self-acknowledgement capabilities
Firstly, there are the elements of music that generate a through dancing, music, and one´s own body, wherein
sense of going-on-being (Ogden’s autistic-contiguous the dance floor provides motion to the embodied
mode). Secondly is the emergence of spontaneous vi- sound.
tality that enlivens the music but when uncontained
The Methodology to be utilized is «The wheel of
threatens to disrupt its continuity, harmoniousness and
coherence (Ogden’s paranoid-schizoid mode). Thirdly Rhythms». This technique consists of the application of
is the creative force through which containment and in- Flamenco rhythms, made of a mix compas of 12 tem-
tegration occurs (Ogden’s depressive mode). These pos, with its sound and symbolic aspects that seek to
three exist in a creative tension with one another, patho- be subjectively transformed.
logy being defined as a collapse in their interplay, with This rhythms acts as a mobilizing element of body pul-
one of the three modalities becoming over dominant. sation (term designated by the neo-reichian psychothe-
We will explore the way this helps us understand and rapist Alexander Lowen. This term refers to static body
work with the dynamics of musical form in clinical work. energys that are activated through music, touching or
Case material will be presented before we explore the moving), thus serving as a channel for the expression
theme for ourselves through group improvisation. We of its subjectivity. The exercises in “the wheel of
will also take a look at Ogden’s work on intersubjectivity rhythms” intend to create a power load, to unblock
and the analytic third (1994; Brown, 1999) to develop a muscular tensions al well as to unload them. Striking
specific understanding of health and pathology in rela- the feet onto the grounding (groung on moving), dee-
tion to the dynamics of the musical relationship. This pens or connects the individual to his own energy, ma-
will be in terms of the creative tension between being king possible the modification of pre-stablished
‘one’ in the music and being separate. We will discuss tensions in the body. The integration between rhythm-
together the ways in which pathology manifests musi- moviment-voice, plays an important role in the expres-
cally in our work and what the therapeutic task entails. sion of emotions, thus unblocking the tensions besides
This will have application to diverse clinical populations. representing his very sound, identity fluid subjectivity.
references «The Wheel of Rhythms» will work one´s body and his
Brown, S. (1999). Some thoughts on music, therapy, and music expressiveness through the body percussion, cons-
therapy. British Journal of Music Therapy, 13(2), p. 63-71. cientious moving and voice, thus enabling his interac-
De Backer, J. (2004). Music and psychosis: The transition from tion with himself as well as with others, acceding to the
sensorial play to musical form by psychotic patients in a music body knowledge through a musical improvisation tech-
therapeutic process. (PhD Dissertation. Dept. of Communica-
nique.
tion and Psychology. Aalborg University). Retrieved February
12, 2008, from: http://www.musikterapi.aau.dk/forskerskolen_ keywords: Rhythms, Music Therapy, Wheel, Body per-
2006/phd-backer.htm cussion, Subjectivity.
Ogden, T. H. (1989). The primitive edge of experience. North-
vale, NJ: Jason Aronson. Irene Lobo Madureira keller. Bachelor in Music The-
Ogden, T. H. (1994). Subjects of analysis. London: Karnac Books. rapy. Universidade Católica de Salvador (Catholic Uni-
versity at Salvador, Brazil). Specialization in Neo-
keywords: musical form, sensorial play, harmony and Reichian body psychotherapy – CEN. 2007/2008 –
dissonance, merged and separate. Masters in Music Therapy. Fachhochschule of Heidel-
Martin Lawes. Works in special needs education, adult berg, Germany.
mental health and palliative care in the UK. He is involved
Master Thesis: «Wirkungsmöglichkeiten des Phäno-
in music therapy and GIM training and has presented
mens Flamenco und in der Praxis der Musiktherapie».
nationally and internationally. martin.mt@virgin.net
irene.keller@t-online.de
imflamenca@yahoo.com.br
Abstract
The technique consists of the capability to utilize musi-
cal elements of Flamenco dance for self-benefit as well
sCIENTIFIC proGrAMME | workshops | VIII European Music Therapy Congress | 85
keywords: Music therapy, dementia, nursing homes, indi- shanker, rajam - India
vidualized music, person-centred care. rajams@yahoo.com
Audun Myskja, MD. Specialist in General medicine and Pal-
liative medicine. Fellow in Neurologic Music Therapy. Re- Abstract
searcher, Red Cross Nursing Home/University of Bergen. Ph D
candidate 2010 University of Bergen Integrated music in de- Music Therapy intervention in India is employing Indian
mentia care – a method for nursing homes (Advisor Brynjulf Classical Music and its infinite application variables as
Stige). info@livshjelp.no a means of establishing communication with the human
body’s Chakras – its main and subsidiary energy cen-
tres which maintain the human body’s rhythmic balance
and functional harmony.
proBLEM soLVING ThroUGh Indian Classical and more specifically South Indian Clas-
CrEATIVE MoDELLING AND sical Music, referred to as Carnatic Music with its ex-
ACTIVE MUsICAL IMAGINATIoN tremely precise and elaborate structure of 72 Mother
Ragas [scales], Swaras [notes], and Srutis [pitch varia-
pehk, Alice - Estonia tions] with Semi and Quarter tones largely provides op-
alice.pehk@gim.ee tions to improvise infinite variables facilitating calibrated
delivery in a client specific intervention program.
Abstract Music Therapy prescription in most cases emanates
The objective of the workshop is to demonstrate the from the clients’ treatment team which include doctors,
technique that makes possible to make conscious psychologists and in the case of children with disabilities,
one’s problematic issues in current life (personal life their parents. Detailed preliminary documented evalua-
and/or working life) and to move on by turning pro- tion of clients is undertaken and Music therapy sessions
blems/worry into action–finding creatively new aspects are designed to take advantage of the innate tendencies
of certain points of peoples lives that they are stuck in in all human beings to react, respond and resonate. The
or they do not know how to deal with. therapist constantly monitors the reactions of the client
and calibrates content or delivery as required.
The technique consists of combination of creative
modelling, active musical imagination and self-analysis. In India. clinical studies and anecdotal evidence from
Possible uses of the technique in preventive music the- Music Therapists working individually and as part of a
rapy groups or self-management trainings and in deve- multi-disciplinary professional teams suggests that the
lopment trainings of working teams will be indicated. sounds of music is an effective therapeutic intervention
in treating clients with neurological disabilities, specifi-
keywords: Problem solving, stress management, ac- cally Autistic children. Regular, systematic and dedi-
tive musical imagination, creative modelling, metaphor cated sessions have established noticeable changes in
and meaning. approximately a four to eight week period.
references Music Therapy in India, using Indigenous Music is invit-
Bruscia, K. E., Grocke, D. E. (Eds.) (2002). Guided Imagery and ing increasing attention because of its greater social
Music: The Bonny Method and Beyond. Gilsum: Barcelona Publi- and societal acceptability - it has always been part of
shers. our conservative milieu and traditions. It is an accept-
Jung, C. G. (2009). Analytical Psychology: Its Theory and Prac- able alternative where there is still substantial social re-
tice – The Tavistock Lectures. Dover Publications Inc. luctance to admitting to neurological disabilities and
Siegelmann, E. Y. (1990). Metaphor and Meaning in Psychother- seeking possibly invasive medical intervention.
apy. New York: Guilford Press.
keywords: Ragas, Carnatic Classical Music.
Sime, W. E. (Ed.) (2008). Principles and Practice of Stress Man-
agement. New York: Guilford Publications. rajam shanker is a India based Indigenous Classical
Music Therapist collaborating with medical profe-
Alice pehk. MA, music therapist, lecturer at Tallinn Uni- ssionals and institutions in treating children and adult
versity, Estonian Academy of Music and Theatre, UT clients with Autism, Hyperactivity, and related Neuro-
Viljandi Culture Academy. Clinical practice in psycho - logical Disabilities. www.rajamsmusictherapy.com
dynamic music therapy. Creative trainings in perso- rajams.mt@gmail.com
nal/organizational development. Estonian representative
in EMTC. alice.pehk@gim.ee
sCIENTIFIC proGrAMME | workshops | VIII European Music Therapy Congress | 87
Results: they felt something good related to their child- Results Classic music revealed a much more analgesic
hood. Music therapy allows us to balance time and effect, having the average score 157 than initially pre-
health (homeostasis) where the organic and psychic ferred non classic or other type of music (the score 80)
functions vary with time, promoting equilibrium between
Discussion: The superior analgesic effect of classical
organic, emotional, mental, cultural time, according to
music suggests its «intrinsic» value offered by the pecu-
Barcellos (1992) and Bruscia (2000). Isn’t one of the aims
liarities of its structure (especially orchestral component)
of a music therapist to change the rhythm of measured
generating a special «atmosphere» and amplified facul-
time and rescue the internal rhythm (affective time)?
tative (as in case of authors` selected pieces) by melodic
references character. The much more activation of brain neurons
Ruud, E. (1990). Caminhos da Musicoterapia. São Paulo: Sum- may be also invoked in favor of the classical music.
mus.
Conclusion: The symphonic music and chamber music
Barcellos, L.R.M. (1992). Cadernos de Musicoterapia 1. Rio de
have a superior analgesic effect than preferred music
Janeiro: Enelivros.
(varied styles), independently by musical education of
Boltz, M.G. (1989). Time Judgments of Musical Endings: Ef-
subjects, but conditioned by the accessibility of the
fects of Expectancies on the «Filled interval effect». Perception
and Psychophysics, v.45, n.5, p.409-418. music pieces (selected after their melodic qualities).
Bruscia, K.E. (2000). Definindo Musicoterapia. Rio de Janeiro: references
Enelivros.
Iamandescu, I.B. (2004) . Muzicoterapia receptiva (Receptive
Brusica, K.E. (1995). The Boundaries of Music Therapy Re- musictherapy), Infomedica.
search. In: Music Therapy Research: Quantitative and Qualita-
Mozart&Science 2008 Abstracts of Lectures and Posters.
tive Perspectives.Phoenxeville: Barcelona Publishers.
Van Deest, H. (1997). Heilen mit Musik, Thieme, Stuttgart.
Keywords: psychological time; music therapy; music
Spintge, R. (1985). Some neuroendocrinological effects of so-
and health; time experience. called anxiolytic music, Int.J. Neurol.,86, 186-196
Cláudia M Carrara Lelis. Bachelor in Music Therapy, Luban-Plozza, B., Delli Ponti, M., Dickhaut, H. (1988). Musik
Paraná Arts College (1988). Music Research, Uberlân- und Psyche, Birkhauser Tatgeber, Basel, Boston, Berlin.
dia Federal University (1992). Masters degree in Psy-
Keywords: pain, prefferd music, classical music.
chology, University of São Paulo (2002). Bioenergetics
Analyst, Switzerland Institute of Bioenergetics (2005). ioan Bradu iamandescu. PhD, MD, BA. Psychology.
Teacher of Music Therapy in Society of Bioenergetic Head of Department of Medical Psychology, University
Analisys Lumen of Ribeirão Preto – SP – Brasil. Member of Medicine and Pharmacy «Carol Davila« Bucharest
of APEMESP (Association of Professionals and Stu- Romania Senior Allergist Colentina Hospital Bucharest.
dents of Music Therapy of São Paulo State) – Brasil. iamandb@yahoo.com
clelis@terra.com.br Alexandru Chitu. University of Medicine and Pharmacy
«Carol Davila« Bucharest Romania, University Bucha-
rest–Faculty of psychology and educations sciences,
AntiALGiC eFFeCt oF preFerreD papers: musicteraphy Wien - Mozart&Science 2008; Ia-
mandescu treaty 2008. andutu87@yahoo.com
MUsiC Vs CLAssiCAL MUsiC
Chitu, Alexandru - romania
andutu87@yahoo.com
iamandescu, ioan Bradu - romania seLeCteD stiMULAtinG MetHoDs
iamandb@yahoo.com oF MUsiC tHerApY proGressiVe
Dabrowska, Joanna - poland
asia.md@wp.pl
Abstract
Objectives: During this study authors have intended to
find what kind of music type could decrease the inten- Abstract
sity of pain: classical (accessible pieces of symphonic
Poster presents selected stimulating methods used in
music) or preferred music.
music therapists’ work with individuals with low degree
Method: In 99 patients with different somatic/physical of disability. The aim of this presentation is to draw at-
diseases (M=52 / F=47) it was determined analgesic tention to the function of stimulating methods in music
effect of classic music versus preferred music , using therapy and to show the effects of music therapists’
analogue visual scales ( AVS). Subjects had to mark on work influenced by selected methods.
AVS scale the intensity of the pain provoked by Zepter
Methods used during classes involve: elements of E.J.
electro-acupunctor after listening each set of music ( 8
Dalcroze’s system, elements of C. Orff’s system, cho-
classical pieces and 8 preferred music).
sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress | 93
reotherapy elements and Visual-Auditory-Kinesthetic Core Board (enlarged) 2007-2010: T. Belmonte, G. Berna,
(VAK). One year research, conducted by the means of R. Bianco, D. Costantino, M.C. Crupi, R. De Michele, E.
observation at The Occupational Therapy Workshop in De Rosa, D. Facchini, D. Fortugno, L. Galeano, E. Gian-
Poznan, confirmed better coordination of patients’ mo- francesco, M.G. Iannaccone, L.L. Mosca.
vements, faster reaction to the selected sound signal,
- Founded in 2003 by M.A. Appio, G. Berna, M.D. D’Ad-
the intellectual, emotional and interpersonal develop-
detta, R. De Michele, D. Facchini, D. Fortugno, B. Ma-
ment, greater independence, individuality and creativity.
selli (first Core Board).
Thanks to presented stimulating methods, people with
low degree of disability have the possibility to develop Music Therapists in AIReM are organized in 2 levels*
memory and concentration. They have a chance to de- (plus Supervisors’ one):
velop simultaneously on many surfaces and strive to – AMT (Assistant MT): a 3-years training course [1000h mini-
improve their health state. Therefore, above mentioned mum] in 4 Areas:
stimulating methods seem to be vital in the work of a) Music Therapical [50%], b) Musical [25%], c) Medical
music therapists. [12,5%], d) Psychological [12,5%], + 100h practise in public
clinical institutions + 75 hours student-centered MT Super-
references vision (1 client - 1 student, each one) in public or in public-
Aldridge, G. & Aldridge, D.(2008). Melody in music therapy. conventioned clinical institutions; self experience preferred;
London: Jessica Kingsley Publishers. Nordoff, P. & Robbins, – SMT (Supervisioned Music Therapist): same criteria above
C. (1971): Music therapy for handicapped children. London: reported + 300h of student-centered supervision in the
Watson T. (2007). Music therapy with Adults with Learning Dis- same kind of institutions; self-experience preferred.
abilities. London: Routledge.
Entrance criteria in a MT Course: Secondary school and
Keywords: music therapy, stimulating methods, people musical diploma (or verified musical competence).
with low degree of disability
MT models: AIReM referring principles contemplate all
Joanna Dabrowska. Master of Arts degree in Musico- the 5 recognised WFMT models, +systemic, +human-
logy at Poznan University in Poland and a graduate of istic Mt ones, even though ISFOM has a psychodynam-
Academy of Music in Poznan. I’m working with people ical approach.
with low degree of disability as a music therapist at The
Keywords: Register, Professionals.
Occupational Therapy Workshop in Poznan.
asia.md@wp.pl | joanna.dabrowska.mt@gmail.com De Michele, renato. AIReM President; WFMT Clinical
Practice Member. Magister and Supervisor Benenzon
Model of Music Therapy. demikar@alice.it
Mosca, Luciana. AIReM Vicepresident, MT ISFOM
AireM – internAL strUCtUre Teacher (Naples, It.). moscaluciana@libero.it
De Michele, renato - italy Crupi, Maria Concetta. AIReM Secretary, MT ISFOM
demikar@alice.it Teacher (Naples, It.). m.crupi@tiscali.it
Mosca, Luciana - italy
moscaluciana@libero.it
Crupi, Maria Concetta - italy
tHe eFFeCts oF MUsiC on sWeAt
m.crupi@tiscali.it
seCretion in pAtients WitH DrUG
ALLerGY
Abstract
Diaconescu, Liliana - romania
We illustrate AIReM Association Register and its internal idiac2002@yahoo.com
structure. It collects 140 Italian Music Therapists trained tiplica, George sorin - romania
in Italian MT schools. AIReM (Ital. MT Register Associa -
iamandescu, ioan Bradu - romania
tion) was founded in November 2003. The Register
comes out from ISFOM training experience (MT Training iamandb@yahoo.com
Institute – Naples, founded by G. di Franco and D. Fac- Cebanu, Alexandra - romania
chini) since 1989. In AIReM there are also music thera-
pists coming from the first University I Level degree in
Italy («U. Giordano» State Academy of Music – Foggia),
now continuing in a public I Level Master in MT. Abstract
AIReM Core Board: President: Renato DE MICHELE. Vi- Background: Previous studies have shown in patients
cepresident: Luciana MOSCA. Secretary: Maria Con- with drug allergy psychological aspects such as: a stress
cetta CRUPI. vulnerability which can increase the incidence of allergic
94 | sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress
reactions (Iamandescu, 1983, 1997. 2007), an increased versity of Medicine and Pharmacy «Carol Davila»
rate of anxious/depressive disorders (Stauder & Kovacs, Bucharest, Romania. idiac2002@yahoo.com
2003; Berino, 2005). Other studies have shown that emo-
George sorin tiplica. PhD, MD, Senior Dermatologist,
tional stimuli modify the sudor secretion (Kamei et al.,
University of Medicine and Pharmacy «Carol Davila»,
1998)-for example, hearing an anxiolitic music causes de-
Dept. of Dermatology, Colentina Hospital, Bucharest,
creased secretion sudor (Spintge, 1985), while rhythmic
Romania.
music increases sweat secretion (Iamandescu, 2004).
ioan Bradu iamandescu. PhD, MD, BA. Psychology.,
Method. In the study were included 30 subjects with
Head of Department of Medical Psychology, University
drug allergy and 30 healthy subjects. In both groups of
of Medicine and Pharmacy «Carol Davila« Bucharest
subjects were applied psychological tests: Anxiety and
Romania. Senior Allergist Colentina Hospital Bucharest.
Depression Scale (HADS, Zigmond and Snaith, 1983),
iamandb@yahoo.com
Perceived Stress Scale (PSS, Cohen and Williamson,
1988), Stressful Events Scale (Lindemann, 1994), Alexi- Alexandra Cebanu, student, Faculty of Medicine, Uni-
thymia Questionnaire, Stress Vulnerability Scale (Miller versity of Medicine and Pharmacy «Carol Davila» Bu-
and Smith, 1985). Subjects were submitted to a musi- charest, Romania.
cal-test diagnostic (MTD, Iamandescu) including 3 sets
of music as a psychosomatic stimulus that induces
changes in the moisture of skin which was measured
with the Multi Skin Test Center MC 750. MUsiC tHerApY: AnotHer WAY to
Results. Levels of anxiety, depression and perceived iMproVe LiFe QUALitY For
stress were significantly elevated in patients with drug inteLLeCtUAL DisABiLitY
allergy compared with the control group. Increased
Ferré Cardona, nuria - spain
scores at the stress vulnerability (with values between
32 and 65 points) correlated with high scores on per- nuria7984@hotmail.com
ceived stress scale (.408, p <0.01). A third of patients
with drug allergy had three or more features for alexi -
thymia. Sweat secretion was increased in patients with Abstract
drug allergy after the audition of each music fragment, APASA is a private social institution declared of public
but especially after the fragment with sad music pieces. utility. Since 1976, our mission is to offer a better quality
In control group sweat secretion was significant in- of life for intellectual disability people and their families
creased only after the sad music fragment, but the level enabling environments and supports.
was lower comparing with the patients group.
The American Association on Intellectual and Develop-
Discussions. Patients with drug allergy present a high mental Disabilities (AAIDD) understand the intellectual
stress vulnerability, including an increased sweat secre- disable has a significant limitation for the intellectual
tion to a distressing stimulus represented by sad music. and for the adaptive, conceptual, social and practical
references habilities. In this case, music offers sensory experien-
ces for an emotional, physic, psychic and social balan-
Iamandescu, I.B. (2004). Receptive musictherapy. Infomedica
ced development.
Publishing House, Bucharest, Romania.
Iamandescu, I.B. (1993). Principles of psychosomatic approach The Music Therapy’s main objective in our institution is to
of allergy patients. Rev.Roum.Psychol., T.37, nr.1, p.79-90. provide a way means of communication through the music
Iamandescu, I.B.; Popa-Velea, O.; Mazuru, G. (1997). Psycho- without the verbal language, keeping a good life’s quality
logical parameters in patients with allergic and pseudo-allergic by working on the emotions and stimulating the senses
reactions to drugs. Allergy, 52, suppl., 37, 127. (hearing, touch, sight...) –essential human habilities.
Kamei, T.; Tsuda, T.; Kitagawa, S.; Naitoh, K.; Nakashima, K.; We work to offer a better sensorial assimilation for dis-
Ohhashi, T. (1998). Physical stimuli and emotional stress-in-
able people by the Music Therapy that controls stimuls.
duced sweat secretions in the human palm and forehead; In-
The objective of this work is to explore, learn and enjoy
ternational Cyber Congress on Analytical BioSciences No1,
JAPON (21/08/1997) 1998, vol. 365, no 1-3 (334 p.) (16
thanks to music sensations.
ref.), pp. 319-326. After all this time that Music Therapy has been working
Spintge, R. (1985). Some neuroendocrinological effects of so- with educative, development and equity activities for the
called anxiolytic music, Int.J. Neurol., 86, 186-196. human disables. These are our results: Better adapta-
Keywords: music, drug allergy, sweat secretion, stress tive behaviours; Reduction of stereotypes; Raise the
vulnerability. motivation level; Improvement of memory and sound
attention; Better emotional welfare; Better communica-
Liliana Veronica Diaconescu. MD, BA, Master in Cog- tive intention; Improving choice; More adaptative habil-
nitive-Behavioral Therapy, Ph D candidate, Assistant ities; Improvement of breathing; Reduction of body
Professor, Department of Medical Psychology of Uni- stress and improvement of relaxation.
sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress | 95
Discussion. The very fluctuant characters of Wagnerian laughter have several features in common, both make
music induced a variety of nuances of feelings (inclu- people relax and can help to transform a negative at-
sively negative ones , but less than positive). mosphere to a positive one.
The propensity of a great subjects` majority to the In Community Music Therapy(CoMT), it is important to
same responses proved the capacity of both MP to in- create an atmosphere in which participants feel safe
duce almost all responses included in the question- and relaxed. As the major aim of CoMT is to re-involve
naire. participants in the community, a friendly atmosphere
amongst participants is of great importance. We have
Conclusión. The introspective potential of the listening
held CoMT with elderly people for 3 years so far, and
subjects represents for authors a possibility for a pre-
we found that encouraging laughter in sessions increa-
liminary stage for further research, coupling these sub-
sed participants’ sense of well-being and improved
jective feelings and bodily sensations with some
their relationships. By laughing a lot together they get
biomedical markers.
rid of stress and more easily engage in conversation.
references We often used comical songs or parody songs, or pa-
Spintge, R., Droh, R. (1992). Musik-Medizin, Fischer Verlag, rodied some famous scenes of films that the partici-
Stuttgart. pants knew well. These old songs helped them to recall
Liegois-Chauvel, C., Peretz, I., Babai, M. et al. (1998). Contri- the old days and increased their sense of unity, be-
bution of different cortical areas in the temporal lobes to music cause to laugh together means that one is accepted in
processing, Brain, 1998, 121 : 1853-1867. the community and the culture. We also hold concerts
Iamandescu, I. (1997). Musicotest W. Tentative d`impacte psy- regularly to connect the participants with other people
chophysiologique de la musique, Rev Roum. Psyhol., 41 (1) : in the community. Here we play comical musical dra-
87-94. mas, whose aim is to enlarge the above effects.
Mozart&Science (2008). Abstracts of Lectures and Posters.
We chose an ‘inclusive’ type of humor to avoid aliena-
Verdeau Pailles, J. Luban-Plozza, B., Delli Ponti, M. (1995). La ting anyone, and which makes everyone happy. Laugh-
troisieme oreille et la pensee musicale, Fuzeau, Paris.
ter and music can be combined because: a) Laughter
Keywords: bodily sensations, feelings, musical verba- and music exist in relationship; b) Laughter and music
lisation. are effective when they are improvised; c) Laughter and
music are more effective when they are shared with
ioan Bradu iamandescu. Prof. PhD, MD, BA. Psycho-
others; d) Laughter and music are reminiscent and as-
logy., Head of Department of Medical vezi re 1Psycho-
sociative, so one can enjoy oneself afterwards reflecting
logy, University of Medicine and Pharmacy «Carol
on the experience and e) Laughter will increase the ef-
Davila» Bucharest Romania Senior Allergist Colentina
fect and therapeutic power of music therapy if it is
Hospital Bucharest; has contributions in various fields:
adopted appropriately.
«Medical Psychology», «Psychosomatics», «Receptive
musictherapy». references
Pavlicevic, M. & Ansdell, G. (2004). Community Music Therapy.
ruth Hampe. Prof. Dr. phil. habil. Chair Rehabilitation
London: Jessica Kingsley Pub.
and Art-Therapie, Catolic University Freiburg and Bre-
Stige, B. (2002). Culture-centered music therapy. USA: Barce-
men University. President of International Association
lona Pub.
of Art-therapy and CreativeTherapies.
Shinichi Yoshino (2004). Warai to mennekiryoku(Laughter and
Chitu Alexandru. University of Medicine and Pharmacy immune strength). 2004, Shufunotomo-sha.
«Carol Davila» Bucharest Romania, forth year, University The Japan Society for Laughter and Humor Studies(edit.):
Bucharest –Faculty of psychology and educations sci- Warai no seiki (The century of laughter), 2009, Sogen-sha.
ences – first year.
Keywords: laughter,music, Community Music Therapy,
elderly people, alienation.
Hiroko Kimura is a musicologist (M.A. degree from
tHe eFFeCts oF LAUGHter in Tokyo University of Fine Arts and Music) and a registe-
CoMMUnitY MUsiC tHerApY red music therapist(by JMTA). She is currently an as-
Kimura, Hiroko - Japan sociate professor of Kumamoto University, Japan.
pkimura@kumamoto-u.ac.jp pkimura@kumamoto-u.ac.jp
Abstract
According to previous studies, laughter increases the
strength of the immune system. Laughter makes respi-
ration better and improves positive thinking. Music and
sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress | 97
Alice pehk. MA, lecturer at Tallinn University, Estonian dren, teenagers and adults. She is also a Musician
Academy of Music and Theatre, University of Tartu Vil- (flute player) and a Music Therapist graduated from the
jandi Culture Academy. Clinical practice in psychody- Escola Superior de Educação do Porto / Universidad
namic music therapy, incl. BMGIM. Creative trainings in de Cádiz. sandrapc@portugalmail.pt
personal/organizational development. Doctoral Student
of Music Therapy in Hamburg University of Music and
Theatre. alice.pehk@gim.ee
MUsiC tHerApY in psYCHiAtrY: A
non-presentiAL CoUrs For
psYCHiAtrists
inDiViDUAL MUsiC tHerApY WitH A
CHiLD WitH DeVeLopMentAL DeLAY poch Blasco, serafina
poch.serafina@gmail.com
pinto da Costa, sandra Filipa - portugal
sandrapc@portugalmail.pt
Abstract
patricia L. sabbatella. Phd Senior Lecturer in Music at Sabbatella, P. (2004). Assessment and Clinical Evaluation in
the University of Cádiz. She is Director of the Joint Music Therapy: An Overview from Literature and Clinical Prac-
Music Therapy Training Programme offered by the Uni- tice. Music Therapy Today (Online) Vol. V, Issue 1 (January 2004)
versity of Cádiz (UCA, Spain) and the Instituto Politéc- Sabbatella, P. y Lazo, K. (2008). Valoración Inicial en Musico-
nico do Porto (IPP, Portugal). She is involved in research terapia Infantil. Actas II Congreso Nacional de Musicoterapia.
activities focus on Music Education and Music Therapy Pág. 106-109. Asociación Aragonesa de Musicoterapia.
with children, teenagers and adults. Keywords: Music Therapy Assessment; Early Interven-
patricia.sabbatella@uca.es tion; Music development.
patricia L. sabbatella. Phd. Senior Lecturer in Music
at the University of Cádiz. She is Director of the Joint
Music Therapy Training Programme offered by the Uni-
MUsiC tHerApY AssessMent For
versity of Cádiz (UCA, Spain) and the Instituto Politéc-
CHiLDren WitH DeVeLopMentAL
nico do Porto (IPP, Portugal). She is involved in research
DisorDers FoCUseD on MUsiCAL activities focus on Music Education and Music Therapy
DeVeLopMent with children, teenagers and adults.
sabbatella, patricia - spain patricia.sabbatella@uca.es
patricia.sabbatella@uca.es paola Lazo. Bachelor in Music Therapy. Universidad
Lazo, paola - spain del Salvador (AR). Music Education Teacher. Early Child
lazopaola@hotmail.com Rehabilitation Postgraduate. She is specialized in early
intervention with toolders and children with psychosis,
autism disorders and developmental delay. Trainer of
Abstract EDUCA SYSTEM. lazopaola@hotmail.com
Music Therapy in Early Intervention with children diag-
nosed with Developmental Disorders requires specific
strategies, procedures and techniques adapted to
chronological age, child musical development, and
MUsiC tHerApY AnD preVention –
clinical diagnosis. Music Therapy Assessment for this
eArLY reCoGnition AnD treAtMent
population are in progress, and there are not so much
oF AttACHMent DisorDers in A
literature published on the topic.
nUrserY
10.15 –
coFFee bReak / Lobby – Aulario La Bomba
10:45 h.
monika nöckeR-
chair alicia loRenzo WoRkShop Round Table SympoSium
RibaupieRRe
16.30 -
coFFee bReak / Lobby – Aulario La Bomba
ScienTiFic pRogRamme
17.00 h.
monika nöckeR luiS albeRTo
chair maRgaRida Rocha Jaakko eRkkilä WoRkShop SympoSium FoRum
– RibaupieRRe maTeoS
Trying to understand the Advances in the MAP: From the Fin de siècle until
musical language of A graphic method for nowadays. Music thera-
18.30 - peutic theory construction
high functioning PDD analyzing music in Vienna
19.15 h. children therapy sessions Fitzthum, Elena & The Body´s Music:
Gottfried, Tali - Israel Gilboa, Avi - Israel Mössler, Karin - Austria our Voice, Main
Musical Instrument
The Part Music Plays in Carrara Lelis,
Psychotherapeutically
19.15 - Based Music Therapy Cláudia M - Brazil
20.00 h. with Children
Schwaiger-Ludescher,
Gabriele - Austria
| daily pRogRamme & TimeTable | VIII European Music Therapy Congress | 103
poster presentations: Facultad de Filosofía y Letras - Hall Ground Floor - 8:30-12:30 hs. / 15:00-20:00 hs.
22:00-02:00 hs. - Viii emTc 2010 congress party! SalaW, Avda. de Portugal, 30 · Cádiz.
emTc 2010 – compleTe TimeTable • FRiday, may 7Th
FaculTad de
aulaRio la bomba
FiloSoFía y leTRaS
Sala mulTiuSoS
Room 1 (groundFloor) Room 2 (ground Floor) Room 6 (1st Floor) Room 7 (1st Floor) aula magna
(1st Floor)
chair ian bRadu lamandeScu eSa ala-Ruona chaVa SekeleS VilmanTe aleSkiene WoRkShop Round Table
10.15 –
coFFee bReak / Lobby – Aulario La Bomba
10:45 h.
chair adRienne leRneR alicia loRenzo FeRdinando SuVini RenaTo de michele WoRkShop Round Table
Music as Therapy:
Working with teenagers after Group song writing en-
The Role of Music in
Listening’ in Music Therapy Black Saturday Bushfires: A hances quality of life in se-
10.45 – Anthroposophical
Revisited community music therapy vere mental illness
11:30 h. Music Therapy
Shimada, Kumi – Japan project Grocke, Denise – The voice and the body
Intveen, Andrea – Music Therapy Worldwide:
McFerran, Katrina – Australia Australia in non-verbal
Germany Exploring Trends and
communication.
Challenges in Research,
Relationship status: it’s Training experiences
Practice and Education
104 | ScienTiFic pRogRamme | daily pRogRamme & TimeTable | VIII European Music Therapy Congress
16.30 -
coFFee bReak / Lobby – Aulario La Bomba
17.00 h.
chair FeRdinando SuVini TomaS WoSch Ranka RaduloVic mª JeSuS del olmo WoRkShop SympoSium
ScienTiFic pRogRamme
Outcome measures: An
Music Therapy as alternative Receptive Music Therapy for «That’s sick, bruv, listen!»
‘Individual Recording
18.30 - intervention at the closed acute Depression and Burn out: Looking at ways to engage
Sheet’ for people living
psychiatric ward A Prospective Controlled with teenage hoodies (and
19.15 h. with Huntington’s
Berman, Albert & Wassink, Riane Clinical Trial X-factor hopefuls)
disease. Listen - can you
- The Netherlands Brandes, Vera - Austria Derrington, Philippa - UK
Bodak, Rebeka - UK
hear me?
Straub, Silja - Germany
19.15 -
20.00 h.
poster presentations: Facultad de Filosofía y Letras - Hall Ground Floor - 8:30-12:30 hs. / 15:00-20:00 hs.
20:00-21:00 hs. - launch Reception nordic Journal of music Therapy. Aulario La Bomba – Lobby Ground Flood
| daily pRogRamme & TimeTable | VIII European Music Therapy Congress | 105
22:00-02:00 hs. - 25 anniversary World Federation of music Therapy. Bar La Canela, Alameda Marqués de Comillas, s/n · Cádiz.
emTc 2010 – compleTe TimeTable • SaTuRday, may 8Th
aulaRio la bomba
Sala mulTiuSoS
Room 2 (ground Floor) Room 6 (1st Floor) Room 7 (1st Floor) Room 8 (2nd Floor) Room 9 (2nd Floor)
(1st Floor)
alVaRo peRez
chair andReS heRmida aVi gilboa Juande gaRcía eVa mª de loS pinoS WoRkShop
gallaRdo
10.15 –
coFFee bReak / Lobby – Aulario La Bomba
10:45 h.
chair bill aheSSy maRgaRida Rocha eVa mª de loS pinoS ToniuS TimmeRman JoRg FachneR WoRkShop
cloSSing ceRemony
19.00 h.
Aula Magna – Facultad de Filosofia y Letras
cloSSing dinneR
20.30 h.
Bodega San José, El Puerto de Santa María (Bus-stop: Facultad de Filosofia y Letras)
poster presentations: Facultad de Filosofía y Letras - Hall Ground Floor - 12:00 - 17:00 hs.
| daily pRogRamme & TimeTable | VIII European Music Therapy Congress | 107
108 | ScienTiFic pRogRamme | daily pRogRamme & TimeTable | VIII European Music Therapy Congress
toilet
aula 2
aula 1
toilet
ScienTiFic pRogRamme | daily pRogRamme & TimeTable | VIII European Music Therapy Congress | 109
toilet
aula 7
aula 6
juntas
sala
de
multi-
usos
sala
toilet
110 | ScienTiFic pRogRamme | daily pRogRamme & TimeTable | VIII European Music Therapy Congress
toilet
ScienTiFic pRogRamme | daily pRogRamme & TimeTable | VIII European Music Therapy Congress | 111
toilet
aula magna
grados
salón
de
1st floor
toilet
juntas
sala
de
>
FaculTad de FiloSoFía y leTRaS
toilet
112 | SOCIAl PrOGrAMME | VIII European Music Therapy Congress
Wednesday, May 5 t h
18:00-19:30 hs. Opening Ceremony. Facultad de FilosoFia y letras, aula Magna.
Thursday, May 6 t h
22:00-02:00 hs. VIII EMTC 2010 Congress Party!
salaW, avda. de Portugal 30, cádiz.
Pop-rock musical instruments will be available at stage for improvisation.
if you want, bring your own musical instrument(s) as well!
Friday, May 7 t h
22:00-02:00 hs. 25 Anniversary World Federation of Music Therapy
bar la canela, alaMeda Marqués de coMillas s/n, cádiz.
21:00-24:00 hs. Clossing Dinner. bodega san José, el Puerto de santa María.
a service of private bus from cádiz to el Puerto de santa María will be offered for free.
6. sponsors
UPACE
san Fernando (cádiz) center for cerebral Palsy.
www.upacesanfernando.org
MUlTISON
www.multisononline.com
114 | VIII European Music Therapy Congress
information for author(s) wishing to publish their paper in the congress Proceedings – as follows:
File Format: save the file as Word format or rich text Format (.rtf file)
Full Paper long: max.4000 words including abstract (max.250 words), references and author(s) affi-
liations.
Page size: a4, 210 mm (8.27") wide and 297 mm (11.69") long, with the following margins: top = 2,5
cm / bottom = 2,5 cm / left = right = 2,5 cm
Page Style: all paragraphs must be indented and justified (left and right)
Paper Style: starts with the title Heading (paper title, author names & affiliations, e-mail), then include
the abstract (max.250 words)
Author(s) information: details should not show any academic title (e.g., dr.), or professional title (e.g.,
Managing director). to avoid confusion, the family name should be written as the last part of each au-
thor name (e.g., betty a. boom). do not split an author name into 2 lines.
each affiliation must include, at the very least, the name of the institution/company and the name of
the country where the author is based (e.g., university of cádiz, spain), and the e-mail address (se-
parate multiple e-mail addresses with a comma followed by a space; do not split an e-mail address
into 2 lines).
Figures and Tables: Figures and tables must be centred on the page. Please check all figures in your
paper, both on screen and on a black-and-white hardcopy. When you check your paper on a black-
and-white hardcopy, please ensure that: a) the colors used in each figure contrast well; b) the image
used in each figure is clear; c) all text labels in each figure are legible.
Figure and Table Captions: Must be numbered using arabic numerals in 9 pt font. captions of a
single line should be centered. captions with figure numbers have to be placed after their associa-
ted figures. numbered figures and tables in separated form (eg. Figure 1: Musical instruments)
(e.g table 1: number of interventions).
Page Numbers, headers, and Footers: Please do not use page numbers, headers, or footers.
Footnotes: indicate footnotes with a number in the text. use 8pt type for footnotes. Place the footnotes
at the bottom of the page on which they appear. Precede the footnote with a 0.5pt horizontal rule.
links and Bookmarks: all hypertext links and section bookmarks will be removed from papers during
the processing of papers for publication. if you need to refer to an internet e-mail address or url in
your paper, you must type out the address or url fully in regular font.
references: according to aPa style. the heading of the references section should not be numbered.
list up references in alphabetical order of the first author, and use regular and italic styles to distin-
guish different fields (see examples in the references section). examples of reference items of different
categories are shown in the following.
VIII European Music Therapy Congress | 115
books:
author, a. a. (year of publication). title of work: capital letter also for subtitle. location: Publisher.
calfee, r. c., & valencia, r. r. (1991). aPa guide to preparing manuscripts for journal publication.
Washington, dc: american Psychological association.
articles:
author, a. a., author, b. b., & author, c. c. (year). title of article. title of Periodical, volume
number(issue number), pages.
Harlow, H. F. (1983). Fundamentals for preparing psychology journal articles. Journal of compara-
tive and Physiological Psychology, 55, 893-896.
author, a. a., & author, b. b. (date of publication). title of article. title of online Periodical, volume
number(issue number if available). retrieved from http://www.someaddress.com/full/url/
bernstein, M. (2002). 10 tips on writing the living Web. a list apart: For People Who Make Websites,
149. retrieved from http://www.alistapart.com/articles/writeliving
if you would like to publish your full paper in the Congress Proceedings, please submit the full docu-
ment by June 1st, 2010, according to the Formatting Instructions for Authors - EMTC 2010.
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