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VIII European Music Therapy Congress

Evidence for Music Therapy


Research, Practice & Education

Cadiz (Spain) May 5 - 9, 2010

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.

Edited by Patricia L. Sabbatella


Legal Deposit: CA 224 - 2010
Universidad de Cádiz - Grupo de Investigación HUM - 794
SCIEnTIFIC PROGRAMME > dAIly PROGRAMME > PAPERS > ThEORy & RESEARCh | VIII European Music Therapy Congress | 3

CONTENTS

Foreword: Welcome to Cádiz! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5


1. Organisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
2. General Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2.1. Congress Venue
2.2. Opening hours of the Registration and Information Desk
2.3. Good to know and remind!
2.4. Tourist Information
3. Scientific Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
3.1. Scientific Committee
3.2. Scientific Programme
3.2.1. Keynote Speakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.2.2. Symposiums & Round Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Symposiums
Round Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
3.2.3. Papers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
3.2.3.1. Theory & Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
3.2.3.2. Clinical Practice & Supervision . . . . . . . . . . . . . . . . . . . . . . 54
3.2.3.3. Training & Accreditation . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
3.2.4. Workshops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
3.2.5. Poster Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
3.3. Daily Programme & Timetable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
4. Social Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
5. Congress Meetings
6. Sponsors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
7. VIII EMTC 2010 Congress Procedings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Delegates List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
SCIEnTIFIC PROGRAMME | VIII European Music Therapy Congress | 5

FOrE wOrd: Welco me to Cádiz!

Dear Delegates to the EMTC 2010 Congress,

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

The VIII European Music Therapy Congress is jointly organised by:


• University of Cádiz. www.uca.es
Music Therapy Training Programme UCA-IPP
Research Team HUM-794: Music, Education & Therapy. Andalusian Research Programme. UCA.
• European Music Therapy Confederation. www.emtc-eu.com
• Asociación Gaditana de Musicoterapia. www.agamut.org

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

EMTC Core Board


Jos de Backer (President)
Monika Nöcker-Ribaupierre (Secretary)
Julie Sutton (Treasure)

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

2.1. COnGRESS VEnuE

universidad de Cádiz
Facultad de Filosofia y Letras
Avda. Gómez Ulla, 1 · 11003 Cádiz

Aulario La Bomba
Paseo Carlos III, 3 · 11003 Cádiz

Congress Sessions are scheduled at:


Facultad de Filosofia y letras
Keynote Speakers – Aula Magna (1st floor) – 12:30-13:30 hs.
Symposiums & Round Tables – Aula Magna & Salón de Grados (1st floor) – 8:30-12:30 hs. / 15:00-20:00 hs.
Poster Presentations – Hall Ground Floor – 8:30-12:30 hs. / 15:00-20:00 hs.
Aulario la Bomba
Papers Presentations – Rooms 1, 2, 6, 7, 8, 9 – 8:45-12:30 hs. / 15:00-19:30 hs.
Workshops – Sala Multiusos (1st floor) – 8:45-12:30 hs. / 15:00-19:30 hs.

2.2. OPEnInG hOuRS OF ThE REGISTRATIOn And InFORMATIOn dESK


Aulario la Bomba: Entrance hall
Wednesday, May 5th 14:00-20:00 hs Friday, May 7th 09.00-19:30 hs
Thursday, May 6 th
09.00-19:30 hs Saturday, May 8 th
09.00-20:00 hs

2.3. GOOd TO KnOW And REMInd!


Badges: The badge is the entrance ticket to all Congress sessions and Social Programme. It is
kindly request to wear the badge also at social events. Only badge holders will be admitted to
Congress sessions, Social Programme, lunches and coffees.
Certificate: Certificates of attendance and presenter will be issued at the Registration and Infor-
mation Desk.
Coffee and Tea facilities: Will be served in Lobby Aulario La Bomba from 10:15-10:45 hs. / 16:30-
17:00 hs.
Tapas lunch: Will be served in Lobby Aulario La Bomba from 13:30 till 15:00 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. Please ask at the Registration and In-
formation Desk.
Internet access is available at the Library of the Facultad de Filosofia y Letras.

2.4. TOuRIST InFORMATIOn


Tourist walks will be offered for free by the Town Hall of Cádiz on Thursday, May 6th and Friday, May
7th at 20:00hs. Please contact the Registration and Information Desk for reservations. Meeting point:
Aulario La Bomba.
8 | GEnERAl InFORMATIOn | VIII European Music Therapy Congress

3 . SCIE NTIFIC prOGrAmmE

Opening Ceremony – Wednesday, May 5th 18:00 hs.


Facultad de Filosofia y Letras, Aula Magna (1st floor)
Keynote Speaker: Dr. Serafina Poch Blasco (Spain)

Clossing Ceremony – Saturday, May 8th19:00 hs.


Facultad de Filosofia y Letras, Aula Magna (1st floor)

3.1. SCIEnTIFIC COMMITTEE


Music Therapy Theory & Research
Tony Wigram (Chair), Annemiek Vink (The Netherlands), Jaakko Erkillä (Finland), Even Ruud
(Norway), Christian Gold (Norway-Austria).  
Music Therapy Clinical Practice & Supervision
Patricia Sabbatella (Chair), Julie Sutton (UK), Ferdinando Suvini (Italy), Monika Nöcker Ribaupierre
(Germany), Adrienne Lerner (France).  
Music Therapy Training & Accreditation
Jos de Backer (Chair), Adriano Primadei (Italy), Tonius Timmermann (Germany), Esa Ala-Ruona
(Finland), Vilmante Aleksiene (Lithuania).

3.2. SCIEnTIFIC PROGRAMME

3.2.1. KEynOTE SPEAKERS

> Opening Ceremony:


Wednesday, May 5 t h 18:30 hs.

Music Therapy Education, Practice and Research in Spain:


Developments and Challengues
dr. Serafina Poch Blasco - Spain

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

Poch Blasco, S. (1964). Importancia de la Musicoterapia en el niño (Musicoterapia). Tesina de Licenciatura–


Fac. de Filosofía y Letras. Universidad de Barcelona.
Poch Blasco, S. (1993). Music Therapy in Spain. Ch. D. Maranto (ed.). Music Therapy International pers-
pectives. Pipersville: Jeffrey Books, 533-546.
Poch Blasco, S. (2008). Los profesionales musicoterapeutas en España en la actualidad. Actas del II Con-
greso Nacional de Musicoterapia. Zaragoza: Asociación Aragonesa de Musicoterapia.
Sabbatella, P. (2004). Music Therapy in Spain. Voices. www.voices.no
Sabbatella, P. (2008). Formación y Profesionalización del Musicoterapeuta en España: Perspectivas ante
el Espacio Europeo de Educación Superior y el Registro Europeo de Musicoterapeutas. Actas II Congreso
Nacional de Musicoterapia, 103-106. Zaragoza: Asociación Aragonesa de Musicoterapia.

Keywords: Education, practice, research, associations.


Serafina Poch Blasco, PhD. RMT (AMTA). MT Intership (1966) and Courses in USA. President
of the I Congreso Nacional de Musicoterapia (Montserrat, Barcelona) (2006). Pionner and Past
Director, Master Music Therapy, University of Barcelona (UB). Founder Asociación Española de
Musicoterapia (AEMT). Founder and Honor President Associació Catalana de Musicoteràpia
(ACMT). President of the «I National Congress of MT» (Montserrat, Barcelona, 2006).
poch.serafina@gmail.com

> Thursday, May 6 t h 12 :30-13:30 hs.

Evidence Based Practice: The Importance of Music Therapy Research


in Clinical Treatment
dr. Tony Wigram - denmark

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

> Friday, May 7 t h 12:30-13:30 hs.


Transgenerational Interactions in Music Therapy
dr. Tonius Timmermann - Germany

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.

Keywords: Music Therapy, Transgenerative Transferences.


Timmermann, Tonius. Prof. Dr. University of Augsburg. Study of Paedagogy in Münster, Music
Therapy in Vienna. Trainings in Breath Therapy and Systemic Constellations. Clinical practice:
psychiatry, psychotherapy and psychosomatics. Research and graduation (Dr.rer.biol.hum.) at
the University of Ulm, Department for Psychotherapy. Professor at the University of Augsburg.
Head of the Master training in Music Therapy and the Research Center for Music and Health.
Private therapeutical practice in Munich. Publishing: books, articles and music.
Homepage: www.timmermann-domain.de | tonius@timmermann-domain.de
SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | KEynOTE SPEAKERS | VIII European Music Therapy Congress | 11

> Satu rday, May 8 t h 12:30-13:30 hs.

Qualitative Analysis of the Analytical Music Listening (ALM) Music Selection –


The Guided Fantasies Method (GFM)
dr. Ranka Radulovic - Serbia

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

3.2.2. SyMPOSIuMS & ROund TABlES

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

Muldoon, M. & King, N. (1995). Spirituality, health care and


SyMPOSIuM On MuSIC ThERAPy And bioethics. Journal of Religion and Health, 34, 329-349.
SPIRITuAlITy: MulTICulTuRAl ThEO- Puchalski, C. (2002). Spirituality. In: A. Berger, R. Portenoy &
RIES, APPROAChES And RESEARCh D. Weissman (Eds.), Principles and practice of palliative care
and supportive oncology. (pp. 799-812). Philadelphia, PA: Lip-
Magill, lucanne, et al. - Canada pincott, Williams and Wilkins Publishers.
lucannem@uwindsor.ca
Keywords: spirituality, health, multicultural, music the-
rapy, well-being.
Abstract lucanne Magill. D.A., MT-BC, Assistant Professor, Uni-
versity of Windsor, has 35 years of clinical experience
Health care in modern society includes spiritual well-
working in cancer and palliative care, has published
being as an integral component of total health and qua-
and lectured internationally, has conducted research
lity of life. Music therapists are in need of caring for their
and provides training and education. She is Chair, Glo-
patients and families in ways that support their inherent
bal Crisis Intervention, WFMT. lucannem@uwindsor.ca
values. Likewise, they are called upon to understand
ways to assess and treat illnesses by identifying and in- Carolyn Arnason. DA, MTA, Associate Professor,
corporating culturally appropriate methods that en- Wilfrid Laurier University, specializes in teaching im-
hance the spiritual aspects of health. provisation and arts-based qualitative research. Her
particular research interest is the improvisational ex-
Spirituality is considered a vital aspect in the process
perience and musicianship in therapeutic and perfor-
of healing in all cultures. It is a multifaceted phenome-
mance contexts. carnason@wlu.ca
non involving a variety of theories, beliefs and practices
(Aldridge, 2000). Spirituality has been defined as “that Joerg Fachner. Ph. D. Dr. rer medic. Dipl. Päd Jörg
aspect of human beings that seeks to heal or be whole” Fachner is Senior Research Fellow at the Centre of Ex-
(Puchalski, 2002), covering a spectrum of human va- cellence in Interdisciplinary Music Research at Univer-
lues that is inclusive rather than exclusive. Muldoon and sity of Jyväskylä, Finland. He is doing music therapy
King (1995) describe spirituality as referring to the uni- and brain research in two research projects on depres-
versal quest for the meaning of life. For these authors, sion and stroke. He edited one book on Music and al-
«spirituality is... the experiential integration of one’s life tered states (together with D. Aldridge).
in terms of one’s ultimate values and meanings» (Mul- jorg.c.fachner@jyu.fi
doon & King, 1995, p.330). Spirituality is therefore
Sumathy Sundar. Ph.D. is a classical vocalist, a psy-
recognized as an inherent human attribute that contri-
chologist and a music therapist clinician. She has re-
butes to health; and the concept of it is found in all cul-
searched on music therapy in oncology for the Ph.D
tures and societies.
degree. She is Technical Advisor, Nada Centre for Mu-
Around the globe, music therapy has been found to en- sic Therapy, Chennai, India and is WFMT Regional Liai-
hance spirituality through transcendence, feelings of son for South East Asia.
faith and hope, promoting sense of meaning and pur- sumusundaresan@yahoo.co.in
pose, and inspiring connection with self and others.
Gerhard Tucek. Ph.D. Programme Director Music The-
This panel brings together an international group of
rapy / University of Applied Sciences Krems; Lecturer,
music therapists working in a variety of treatment set-
University for Music and Performing Art, Vienna; Institute
tings. They will each address the research and theore-
for Culture & Social Anthropology, Vienna University;
tical framework of their approaches within their specific
Founding member and Director of IMARAA (International
settings, and will discuss, describe and demonstrate
Music and Art Research Association, Austria).
methods that are aimed towards enhancing the spiritual
gerhard.tucek@fh-krems.ac.at
well-being of the patients and families in their practices.
Cultural perspectives will be explored by the panel
members.
References
Aldridge, D. (2000). Aldridge, D. (2000). Spirituality, healing
and medicine: Return to the silence. London: Jessica Kingsley
Publishers, Ltd.
Magill L. (2009). The spiritual meaning of music therapy as
perceived by bereaved caregivers of advanced cancer pa-
tients. J Palliative and Supportive Care, 7(1); 97-108.
Magill, L (2006). Spirituality and the challenges of End-stage
illness. In: Aldridge, D., & Fachner, J. (Eds.). Music and altered
states - Consciousness, transcendence, therapy and addic-
tions. London: Jessica Kingsley.
16 | SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | SyMPOSIuMS & ROund TABlES | VIII European Music Therapy Congress

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.

Keywords: Special Education, Young People, Commu- Abstract


nity, Psychotherapy, Performance.
Global crises are prevalent in today’s society. Humans
Katrina McFerran. PhD, completed her doctoral dis- around the world are impacted by the numerous social
sertation at the University of Melbourne on the topic of and environmental issues of modern times, such as
bereaved adolescents. She has worked exclusively with hunger, poverty, war, natural disasters, social violence
young people in schools, hospitals and the community and public health diseases. These global crises drasti-
and has published in a range of refereed multidiscipli- cally affect the biopsychosocial and spiritual well-being
nary journals and presented internationally. and quality of life of victims, survivors, witnesses and
k.mcferran@unimelb.edu.au caregivers. As the challenges inherent in these interna-
tional crises have immediate and long term ramifications,
Cochavit Elefant. PhD, completed her doctoral disser-
ongoing work in these areas, with efforts to enhance pre-
tation at the University of Aalborg, Denmark on the topic
paredness, response, relief and recovery, is essential.
of communication with girls with Rett Syndrome and
Likewise ongoing support to all involved is vital.
has worked extensively in school systems both in Israel
and the USA. She has several publications on the topic In 2005, the World Federation of Music Therapy created
of music therapy with children with special needs. the Commission on Global Crisis Intervention out of its
cochavit.elefant@grieg.uib.no growing concern for the numerous crises affecting in-
dividuals around our globe in this millennium. It was
Andreas Wölfl. Music therapist, supervisor, psychothe-
organized to enhance the welfare of individuals by su-
rapist for children and adolescents. Works at Munich
pporting and acknowledging the efforts of music the-
Children and Adolescents Psychiatry since 1989 and in
rapy work in all areas of global crises. Commissioners
private practice. Chairperson of the postgraduate
and music therapists have been exploring and develo-
Music Therapy Training and project manager of the
ping strategic plans and educational resources for
working group «prevention with music» at Freies Musik-
music therapists interested in serving individuals expe-
zentrum in Munich/Germany Address: Freies Musikzen-
riencing traumas and losses as a result of crises.
trum, Ismaninger Str.29, D 81675 Munich.
andreas.woelfl@t-online.de This symposium brings together an international group
of music therapists who are each working in areas of glo-
Philippa derrington studied and taught modern lan-
bal crises. They will each address the research and crises
guages in the UK and abroad before training as a mu -
strategies they have implemented in their regions and will
sic therapist at Anglia Polytechnic University. Since
also describe their models of approaches, particularly in
qualifying in 2001, she has worked predominantly in
crisis response, relief and recovery. Cultural perspectives
18 | SCIEnTIFIC PROGRAMME | SCIEnTIFIC PROGRAMME | SyMPOSIuMS & ROund TABlES | VIII European Music Therapy Congress

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

3.2.3.1. theory & research

Newham, P. (1992). The Singing Cure: An Introduction to Voice


choraL theraPy: IMProVING Movement Therapy. United Kingdom: Rider Books.
QUaLIty oF LIFe & reDUcING Robertson-Gillam, K. (2008). Hearing the voice of the elderly:
DePressIoN The potential for choir work to reduce depression and meet
spiritual needs. In MacKinlay, E. (Ed.). Ageing, disability and
ahessy, Bill - Ireland spirituality. London: Jessica Kingsley Publishers.
billahessy@gmail.com Ruud, E. (1997). Music and the Quality of Life. Nordic Journal
of Music Therapy, 6; 2, 86-97.

Keywords: Choir, Quality of Life, Depression, Older


abstract Adults.
This study examines the role music therapy has to play Bill ahessy. An Irish music therapist who studied music
in improving quality of life and reducing depression therapy at the University of Sydney (GDip) & the Uni-
through active participation in choral therapy. The choir versity of Cadiz (MMT). Currently working in Dublin in
project was set in a residential and day care unit in Ireland care of older people & in children’s mental health.
and used both quantitative and qualitative methodo- billahessy@gmail.com
logies. Forty participants with and without dementia were
randomly allocated to a choir group or a routine care
group. The choir group received 60 minutes of weekly
choral therapy for 12 weeks. The methodology for the
tWo Phases oF MUsIc theraPy IN
choir session included meditation and relaxation, vocal
exercises, vocal improvisation and learning and singing aUtIsM: theraPeUtIc reLatIoNshIP,
a broad ranger of repertoire. All choir session were re- eDUcatIoN IN theraPy
corded with video for qualitative analysis. The outcomes
andreopoulou, yiota - Greece
were measured with MMSE, The Cornell Scale for De-
pression in Dementia, the Cornell Brown Scale for Quality yiota_andreou@yahoo.gr
of Life in Dementia and evaluation questionnaires.
After 12 weeks of choral therapy the choir group showed abstract
significant improvements in depression and quality of life
when compared with the control group. Mean depres- An 8 years old boy suffering from Asperger syndrome
sive symptoms in the choir group was reduced by 54%, growing with a single mother is the subject of the paper.
while the control groups’s symptoms increased by 21%. The boy presents difficulties in social interaction at a
The results also found that 76% of the choir group’s qual- verbal and non-verbal level, serious lack of reciprocity
ity of life score improved, while 68% of the control and empathy, poor sense of himself, and receives the
group’s quality of life dis-improved to some degree. rejection from the family and the school environment.
There was also a significant increase in cognitive func- In the first phase the approach followed was mainly
tioning in the choir group. Results from the evaluation centered in clinical improvisation. It will be demon-
questionnaires revealed that sixty percent of the partici- strated how music was used as the main medium in
pants reported that singing improved their mood, while order to achieve goals such as perceptional aware-
40% reported physical gains such as breath control and ness, physical and psychological stimulation, emotional
speech improvement. Relaxation, stress reduction and expression and communicative ability, as well as differ-
reducing isolation were also reported benefits. ent levels of musical interaction. In the second phase
the focus shifted in order to adapt the new needs of the
These findings would suggest that music therapy, more boy. Inclusion in the school setting and difficulties with
specifically choral therapy can reduce depression and the school work made it necessary to focus in a more
improve quality of life in older adults and is an efficacious educational music therapy practice. So, cognitive mu-
psychosocial treatment intervention for those with and sical and movement activities, positive reinforcement
without dementia in residential and day care settings. and discussion were now used in addition to clinical im-
references provisation in order to be developed verbal and motor-
coordination skills, mathematic reflection and acceptable
Clair, A. (2000). The importance of singing with elderly patients.
behavior in social interaction.
In Aldridge, D. (Ed.). In Aldridge, D. Music Therapy in Dementia
Care. London: Jessica Kingsley Publishers. references
Cohen, G. (2006). Research on creativity and ageing: The pos- Bruscia, K. (1999). Modelos de Improvisación en Musicotera-
itive impact of the Arts on health and illness. In Aging and the pia. Vitoria-Gasteiz: Agruparte.
Arts, American Society On Aging, Spring 2006.
22 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress

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

emotional responses, talking through the events results


in reliving the memories as if they were occurring in the MUsIc theraPy WIth acQUIreD
present (Clark, et al., 2003). Research results suggest that BraIN INJUrIes: PreLIMINary
these individuals instead need body-oriented experien- recoMMeNDatIoNs FroM
ces, such as yoga and theater, to help reintegrate the cochraNe reVIeW
physiological and emotional responses connected to
their traumatic experience (van der Kolk, 2008). Bradt, Joke - Usa
Although limited research exists on the use of music jbradt@temple.edu
therapy for trauma stress, music therapy methods may Magee, Wendy. L. - Usa
provide similar experiences described by van der Kolk drwmagee@rhn.org.uk
that facilitate the reintegration of an individual’s percep- Dileo, cheryl - Usa
tions, sensations, and emotional responses; develop
cdileo@temple.edu
emotional coping skills that assist in learning to control
and modulate emotions and responses; and thereby, Wheeler, Barbara. L. - Usa
aid in resolving the trauma. This presentation will dis- barbara.wheeler@louisville.edu
cuss the recent research on trauma treatment and how McGilloway, emer - Usa
music therapy may support the needs of individuals emcgilloway@hotmail.com
dealing with trauma. The presenter also will discuss
how components of her improvisational model for work-
ing with children in Bethlehem, Palestine, address the abstract
needs identified in the research.
This presentation offers information on emerging evi-
references dence-based music therapy clinical practice and re-
Clark, C., McFarlane, A., Morris, P., Weber, D., Sonkkilla, C., search with adults with acquired brain injuries from
Shaw, M., Marcina, J., Tochon-Danguy, H., & Egan, G. (2003). stroke, trauma, infections, anoxia and any mixed cause
Cerebral function in posttraumatic stress disorder during ver- of a non-degenerative nature. It comes from the prelim-
bal working memory upgrading: A positron emission tomog-
inary findings of a Cochrane review in which the authors
raphy study. Biological Psychiatry, 53, 474-481.
have been involved. Cochrane reviews examine re-
Hull, A. M. (2002). Neuroimaging findings in post-traumatic search evidence on interventions using agreed-upon
stress disorder. British Journal of Psychiatry, 181, 102-110.
criteria for quality evaluation. The steps involved in the
van der Kolk, B. (2008, November). New Frontiers in Trauma Cochrane review will be described briefly, including the
Treatment. Workshop presented by Institute for the Advance- literature that was considered and that has been in-
ment of Human Behavior, McLean, VA.
cluded in the current review. Procedures for analysis will
van der Kolk, B. (2006). Clinical implications of neuroscience be provided and results of the review will be presented.
research in PTSD. Annals New York Academy Sciences. 1071,
277-293. Information on clinical interventions that are useful with
van der Kolk, B., McFarlane, A., & Weisaeth, L. (Eds). (1996). people with acquired brain injuries will be shared, with
Traumatic stress. New York: Guilford Press. an emphasis on interventions for which there is evidence
based in research findings. These will include: (a) clini-
Keywords: trauma stress; trauma therapy; emotional cal improvisation in which participants are involved in
coping skills; neurobiology. active music making in dialogue with the therapist using
Gene ann Behrens. PhD, MT-BC, associate professor musical instruments or voice; (b) voice and singing tech-
and director of music therapy at Elizabethtown College, niques including song-singing programs, melodic into-
USA, is involved in research in the areas of trauma nation therapy or modified melodic intonation therapy,
stress and emotional coping skills. vocal intonation therapy, rhythmic speech cueing, and
behrenga@etown.edu therapeutic singing; (c) rhythmic auditory stimulation
(RAS) or rhythmic auditory cueing; (d) receptive tech-
niques in which participants listen to music; (e) song-
writing; and (f) any combination of above. The research
studies underpinning these recommendations will be
examined, highlighting methodological qualities that
met Cochrane standards. Finally, we will explore re-
search studies which could not be included, presenting
the methodological reasons for exclusion. Preliminary
recommendations will be made for future research into
Music Therapy with acquired brain injured populations.
references
Argstatter, H., Hillecke, T. H., Thaut, M., & Bolay, H. V. (2007).
Music therapy in motor rehabilitation. Evaluation of a musico-
24 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress

medical gait training program for hemiparetic stroke patients


[Musiktherapie in der neurologischen Rehabilitation. Evalua- recePtIVe MUsIc theraPy For
tion eines musikmedizinischen Behandlungskonzepts für die DePressIoN aND BUrNoUt:
Gangrehabilitation von hemiparetischen Patienten nach a ProsPectIVe coNtroLLeD
Schlaganfall]. Neurologie und Rehabilitation. 13(3), 159-65.
cLINIcaL trIaL
Bradt, J., Magee, W. L., Dileo, C., Wheeler, B. L., & McGilloway,
E. (2007). Music therapy for acquired brain injury (Protocol). Brandes, Vera - austria
Cochrane Database of Systematic Reviews 2007, Issue 4. Art. vera.brandes@pmu.ac.at
No.: CD006787. DOI: 10.1002/14651858.CD006787.
Baker, F. (2001). The effects of live, taped, and no music on
people experiencing posttraumatic amnesia. Journal of Music abstract
Therapy, 38(3), 170-92. Depression is a prevalent, often chronic and disabling
Kim, S. J., Koh, I. (2005). The effects of music on pain percep- disease and closely linked to burnout. Despite current
tion of stroke patients during upper extremity joint exercises. psychosocial and antidepressant treatments, less then
Journal of Music Therapy, 42(1), 81-92. half of the diagnosed patients respond to medication or
Paul, S, & Ramsey, D. (1998). The effects of electronic music-mak- psychotherapy. Even when symptoms abate, non-adher-
ing as a therapeutic activity for improving upper extremity active ence to therapy is common and associated with a high
range of motion. Occupational Therapy International, 5(3):223-37. risk of relapse. New strategies are needed to improve
Keywords: Evidence-based practice, Cochrane review, therapy outcomes. Individualized music interventions
acquired brain injury, stroke, traumatic brain injury. may be a low-barrier alternative to current approaches.
We investigated two versions of a newly developed me-
Joke Bradt. PhD, MT-BC. Assistant Director of the Arts thod of a home based, music focused individualized
and Quality of Life Research Center at Temple Univer- audio therapy (IMAT) in depressed outpatients. Potential
sity. Her research interests are Cochrane systematic re- subjects were recruited in Vienna, Austria and asked to
views and medical music therapy. jbradt@temple.edu complete an online version of the Goldberg Depression
Wendy Magee. International Fellow in Music Therapy, Questionnaire to determine eligibility. Enrolled subjects
Institute of Neuropalliative Rehabilitation, has worked in (n=203, average age 49.6 +13.1 years, 28.1% male)
neurology since 1989. Her post-doctoral fellowship cov- were randomized into four arms: Music Therapy 1 (MT1),
ers research, clinical practice, publishing, and coordi- Music Therapy 2 (MT2), Placebo (nature sounds) and
nating a global network for music therapy in neurology. waiting-list Control. MT included specific newly com-
drwmagee@rhn.org.uk posed (MT1) and specifically arranged classical music
(MT2). MT was administered as monotherapy (56%) or
cheryl Dileo. PhD, MT-BC is the Carnell Professor of add-on therapy to antidepressants and/or psychotherapy
Music Therapy, Coordinator of Music Therapy PhD (44%). Subjects listened for 30 minutes, twice daily. Mul-
Program and Director of the Arts and Quality of Life tivariate linear regression models assessed depressive
Research Center at Temple University, Philadelphia. symptom changes over five weeks, based on a compos-
cdileo@temple.edu ite scale (COMP) and the Hamilton Rating Scale for De-
Barbara Wheeler. PhD, MT-BC, NMT Fellow is Profes- pression (HAM-D), Beck Depression Inventory (BDI) and
sor and Director of Music Therapy at the University of Hospital Anxiety and Depression Scale (HADS-D) alone.
Louisville in Kentucky. She edited Music Therapy Re- On average, a significant, positive change in COMP was
search, 2nd Edition, and coauthored Clinical Training observed for MT1 (b=1.44, p=0.030), but not for MT2
Guide for the Student Music Therapist. (b=1.14, p=0.059) or Placebo (b=0.57, p=0.397) sub-
barbara.wheeler@louisville.edu jects. After five weeks, controls and placebo subjects
were randomized to MT1 and MT2. After 15 weeks, study
emer McGilloway. MB BCh, BAO, MRCP(UK) is a spe- participation was associated with a mean HAM-D score
cialist registrar in rehabilitation medicine with a particu- reduction of 60% for 89,1% of the compliant probands.
lar interest in neurorehabilitation. She currently works at Conclusions: Individualized short-term receptive music
DMRC Headley Court, which specializes in combat-re- therapy appears beneficial as alternative or complemen-
lated neurological and musculoskeletal injury. tary depression treatment. Further studies should evalu-
emcgilloway@hotmail.com ate long-term effects and identify optimal listening
schedules for different types of depression.
references
Greden, JF (2001). The burden of recurrent depression: cau-
ses, consequences, and future prospects. Journal Clinical Psy-
chiatry; 62:5-9.
Maratos AS et al.(2008). Music therapy for depression. Co-
chrane Database Syst. Rev. Jan 23; (1): CD004517.
Moret C (2005). Combination/augmentation strategies for im-
proving the treatment of depression. Neuropsychiatr Dis Treat
1:301-309.
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 25

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

the staM ProtocoL IN DeMeNtIa:


a MULtIceNter, sINGLe BLIND,
VoIce aND sINGING WIthIN the
raNDoMIZeD aND coNtroLLeD
coUPLe, resoUrce For
stUDy
PreGNaNcy aND DeLIVery
ceccato, enrico et al. - Italy
casanova, Giovanni - Italy
enrico.ceccato@gmail.com
giocasanova08@gmail.com

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

Results: MANOVA analysis will be adopted to check for


variation and differences between the groups and wi- MUsIc theraPy By ProXy: UsING
thin each group. Bivariate correlation and multiple re- hUMaNIZeD IMaGes IN soNG
gression analysis will be used to explore relations
between the various measures. chambers, carol - UK
carolmch@tiscali.co.uk
Conclusion: as this is a currently ongoing study, results
will be presented and discussed during the congress.
references abstract
Ceccato E., Caneva P., Lamonaca D. (2006). Music therapy Developing awareness, exploration and expression of
and cognitive rehabilitation: A controlled study. Nordic Journal emotionally sensitive issues can be difficult for some
of music therapy, 15 (1), 3-12.
clients in music therapy. They may find it hard to ex-
Ceccato E., Lamonaca D., Gamba L., Poli R., Caneva P.A. (in press emotion through improvised music and may turn
press). Il metodo STAM nella psicosi: il contributo della ricerca, instead to the perceived security of the repetition of
Musica et Terapia.
known songs.
Koger SM, Chapin K, Brotons M. (1999). Is Music Therapy an
Effective Intervention for Dementia? A Meta-Analytic Review of This paper presents the results from a completed re-
Literature. Journal of Music Therapy, 36(1), 2-15. search PhD, a qualitative case study based on natura-
Vink AC, Birks J, Bruinsma MS, Scholten RJPM (2003). Music listic clinical practice, which examined the song choices
therapy for people with dementia. Cochrane Database of of one woman in a medium-secure forensic unit over
Systematic Reviews 2003, Issue 4. Art. No.: CD003477. DOI: the three-year course of her music therapy.
10.1002/14651858.CD003477.pub2
A descriptive narrative account was subjected to analy-
Keywords: STAM protocol, evidence-based music the- sis according to a modified form of therapeutic narrative
rapy, dementia, alzheimer, cognitive rehabilitation. analysis (Aldridge and Aldridge 2002) resulting in the ab-
straction of a series of generative metaphoric images,
enrico ceccato is psychologist, cognitive behavioural
framed within a chronological series of events. Crucially,
psychotherapist and music therapist. He conducts rese-
these images were found to be humanized figures, yet
arch in Music Therapy at the Department of Music The-
they were also emotionally decentred or depersonalized.
rapy at the Conservatory of Music of Verona (Italy).
When approached from the philosophical and method-
enrico.ceccato@gmail.com
ological perspective of behaviourism, which views these
Luigi Petris. Centro Assistenziale F.S. Zerbato, Treg- as conditioned responses associating music with life ex-
nago, Verona, (Italy). periences as part of a process of developing self-iden-
Giovanna Vigato. Casa di riposo, Domenico Cardo, Co- tity, such images can be seen to provide an unspoken
logna Veneta, Verona (Italy). voice for the client’s feelings to be expressed in a man-
Albina Bevilacqua. Casa di riposo, Domenico Cardo, ner that is personally revealing, socially acceptable, cul-
Cologna Veneta, Verona (Italy) turally accessible and therapeutically constructive. I
assert that using these third-person characters as a form
Paolo Pizziolo. CETOM, Firenze (Italy).
of proxy facilitates mutual reference and experimenta-
Susanna Crociani. CETOM, Firenze (Italy).
tion, and places music firmly at the heart of a socially
Emanuele Zanfretta. Centro Assistenziale F.S. Zerbato, constructed process of music therapy.
Tregnago, Verona, (Italy).
references
Lorenza Pollini. Centro Assistenziale F.S. Zerbato, Treg-
Aldridge, D. and Aldridge, G. (2002) ‘Therapeutic narrative
nago, Verona, (Italy).
analysis: A methodological proposal for the interpretation of
Lorella Baldin. Fondazione casa di riposo Immacolata music therapy traces’, Music Therapy Today [online], Decem-
di Lourdes, Pescantina, Verona (Italy). ber. Available at: URL: http://www.musictherapyworld.de
Cristina Frongillo. Fondazione casa di riposo Immaco- [Accessed 18th February 2003].
lata di Lourdes, Pescantina, Verona (Italy). Keywords: imagery, metaphor, songs, narrative, be-
Andrea Signorin. Fondazione casa di riposo Immaco- haviourism.
lata di Lourdes, Pescantina, Verona (Italy).
carol chambers. PhD qualified in 1982, is a former
Sara Demoro. Residenza Sanitaria San Pietro, Casti-
Head Music Therapist and completed doctoral re-
glione delle Stiviere, Mantova (Italy) search at the University of Nottingham. She works for
Elisabetta Barchi. Residenza Sanitaria San Pietro, Cas- the Workers’ Educational Association in Lincolnshire.
tiglione delle Stiviere, Mantova (Italy). carolmch@tiscali.co.uk
Romildo Grion. Statal Conservatory of Music of Verona
«F.E. Dall’Abaco» (Italy).
Paolo Alberto Caneva. Statal Conservatory of Music of
Verona «F.E. Dall’Abaco» (Italy).
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 27

tors, and students (pp. 180-205). London, England: Jessica


ePIsoDes oF reLatIoNshIP Kingsley.
coMPLetIoN throUGh soNG IN Dileo, C., & Parker, C. (2005). Final moments: The use of song
PaLLIatIVe care in relationship completion. In C. Dileo & J. V. Loewy (Eds.),
Music therapy at the end of life (pp. 43-56). Cherry Hill, NJ: Jef-
clements-cortés, amy - canada frey Books.
aclements@baycrest.org Forinash, M., & Grocke, D. (2005). Phenomenological Inquiry.
In B. Wheeler (Ed.), Music therapy research (2nd ed., pp. 321-
334). Gilsum, NH: Barcelona.
abstract Hilliard, R. E. (2005). Music therapy in hospice and palliative
care: A review of the empirical data. Evidence Base and Com-
This presentation will involve the dissemination of re-
plimentary Alternative Medicine, 2(2), 173-178.
search results for a study that utilized a combination of
intrinsic and instrumental case studies to describe the Keywords: Relationships, palliative care, relationship
experience of four dying persons and their significant completion, love, loss.
relations, as they engaged in music therapy sessions
amy clements-cortés. PhD. is the senior music thera-
designed with the goal of facilitating relationship com-
pist for Baycrest Centre in Toronto, Canada where she
pletion. The four primary participants were diagnosed
works with clients in rehabilitation, behaviour neurology,
with a terminal illness and a life expectancy of less than
complex continuing care and palliative care.
six months. Two spouses who were involved in music
aclements@baycrest.org
therapy sessions were co-participants.
Four case studies were developed to represent each of
the rich and detailed stories. Highlights and excerpts
will be shared in the presentation along with music writ- creatIVe MUsIc aND seNsory
ten by participants, narratives, and artistic pieces rep- INteGratIoN For chILDreN WIth
resenting each participant’s experience. Through the
atteNtIoN aND hyPeractIVe
use of narrative research methods I was able to de-
scribe, interpret, and understand the complexity held
DIsorDers
within the multiple data sources that informed each cominardi, claudio - Italy
case study. Data sources included: music created, uti-
c.cominardi@tiscalinet.it
lized, recorded, and/or discussed in music therapy ses-
sions; discussions during music therapy sessions; the
researcher’s field notes; formal notes placed in the par- abstract
ticipant’s medical charts; the formal written assess-
ment; transcriptions of audio-taped music therapy The increase of behaviours that show a lack of quality
sessions; interviews; interview transcriptions; artistic of attention, listening, impulsiveness managing, motor
pieces crafted by myself that emerged from the expe- control, sharing of rules and social relations in children
riences of the participants as reflected in their inter- from 3 to 6 years, is a huge problem in educational in-
views, and weekly participation in sessions which were stitutions and families. Music, sensory and creative activ-
verified by the participants; and other artistic material. ities that involve improvisation, body movement and
expressiveness, are able to decrease resistance and
The rich knowledge that emerged from the individual inhibitions, growing the maintenance of attention and im-
case studies informed a cross-case analysis where glo- pulsivity balance in a context of long-term interest (Jack-
bal themes were identified from a thematic analysis of son, 2003). Recent studies have identified important
participants’ experiences; and process motifs arising behavioural, cognitive, physical and mental connections
from the progression of participant engagement in music between hyperactivity and creativity, which significantly
therapy will be described. Global themes included: love; influence both the evaluation and intervention on chil-
loss; gratitude; growth/transformation; courage/strength; dren who have these symptoms and often live stimuli,
and goodbye. I will conclude the presentation with a interest and attention so different from the observers’
summary of the knowledge revealed and a discussion view (Cramond, 1993-Gallagher, 1986-Shaw, 1992).
of implications for music therapists and health care pro-
fessionals. This research has been developing both sensory and
synaesthetic elements that concern the sound parameters
references of timbre, pitch, intensity and duration, in order to build a
Byock, I. (2004). The four things that matter most: A book about musical language including the integration of colour, body
living. New York: Free press. movement and environment. Its own methodology is
Dileo, C., & Magill, L. (2005). Song writing with oncology and based on creative improvisation and integrated langua -
hospice adult patients from a multicultural perspective. In F. ges, made by the construction of special space/time
Baker and T. Wigram (Eds.), Songwriting: Methods, techniques paths of music synaesthesia, aimed to grow metacogni-
and clinical applications for music therapy clinicians, educa-
tive processes that develop attention and motor control.
28 |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

cLINIcaL IMProVIsatIoN IN MUsIc MUsIc theraPy WIth BaBys FroM


theraPy WIth PeoPLe sUFFerING 0 to 6 MoNths IN PeDIatrIc
FroM DeMeNtIa; DeVeLoPMeNt oF a INteNsIVe care UNIt
research ProJect Del olmo Barros, María Jesús - spain
coomans, anke - Belgium mariajesus_d@yahoo.es
coomans.anke@telenet.be rodríguez Garrido, cyntia - spain
cintia.rodriguez@uam.es
ruza tarrío, Francisco - spain
abstract
fruza.hulp@salud.madrid.org
Starting from some short, but striking fragments of cases
from her music therapeutic practice, the speaker tries in
this paper presentation to outline how those special ex- abstract
periences with people suffering from dementia brought
When live music is used as a semiotic mediator in the
her to the idea of doing research on this domain. The
adult-baby interaction has therapeutic implications, es-
three components that make up her final research-ques-
pecially when this interaction takes place in a context
tion will be: dementia, musical improvisation and thera-
of risk such as in Pediatric Intensive Care Unit (PICU),
peutic relationship.
where babies do not have a suitable environment for
First, those three terms will be discussed separately development.
and in the end they will be brought together to introduce Objetives: We observed the music therapy effect of in-
in a synthesis the presentation of the actual study. One fants from 0 to 6 months in the Pediatric Intensive Care
will look beyond the deficits that are caused by demen- Unit at 6 times: before, during and after interaction with
tia-disease and pay much attention to the presentation the adult WITHOUT music, and before, during and after
of the «affect», that may appear in its most pure and interaction with the adult WITH music in the physiologi-
also undamaged way. Focus will be laid on the way the cal parameters: heart rate, respiratory rate and oxygen
musical improvisation permits the therapist to witness saturation. Psychological responses: Crying, sleep, eye,
this appearance. This «being-in-resonance» will be- laugh and smile before, during and after. Test data for
come one of the most important phenomena in the Comfort Behavior Scale before and after. A total of 100
prosented study. During the presentation, those con- interventions were carried out using a musical keyboard
siderations will be amplified with illustrations and theo- as the main instrument of intervention and a guitar as a
ries from out the scientific (music therapeutic) literature. secondary support instrument. Setting: Pediatric Critical
Finally, the structure of the study will be presented. The Care Unit, Hospital la Paz from Madrid Spain.
research-question, which was brought up at the first Musical elements: Tempo: 80 beats per minute in a mu-
part of the presentation will lead us to the design of the sical binary accent and 90 beats per minute in ternary
study. Purposes and expectations just as the present accent. Key: major or minor, was determined according
state of affairs will be discussed shortly. to the pitches emitted by the voice of the baby, their
Keywords: dementia, clinical improvisation, therapeu- babbling, crying and vocalizations. Harmony: The mu-
tic relationship, research. sical performance began with two basic chords I-IV
both in the major and minor Key. Intensity was observed
anke coomans is MA music therapist at the University as per 1) the intensity of the movements of the baby;
Center in Kortenberg, Belgium. She’s working there on 2) postural-tonic dialogue the adult had with him/her,
the psycho-geriatric unit and with people with person- cuddling, strength of voice, whispering and voice; 3)
ality disorders. Beyond her clinical work, she is also as- also noted is the noise level of the unit. All musical in-
sistant teacher at the master training course for music terventions took place during 10 minutes
therapy at the College of Science & Arts, campus Lem-
mensinstitute, Leuven, Belgium. Anke Coomans is Measurements and Main Results: Heart rate: from
responsible editor of the newsletter of the Belgian 144.01 beats / min at the time before WITHOUT music,
professional association of music therapists (BMT down to 137.19 beats / min at the time after WITH music
asbl.) coomans.anke@telenet.be (P = 0.001). Respiratory rate: from 38.42 rpm at the
time before WITHOUT music, to a low of 35.71 rpm at
the time after WITH music (P = 0.02). O2 saturation in
the blood: from 95.84% at the time before WITHOUT
music, it rises to 97.10% at the time after WITH music
(P=0.00). Test Comfort Behavior Scale: The evolution
of the Comfort Test is significantly different depending
on whether with or without music (P = 0.038). Psycho-
logical responses: Crying: There was a significant di-
30 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress

fference in crying when we compare the moments be-


MUsIc theraPy For MeDIcaL
fore NO MUSIC and before WITH MUSIC (p = 0.003).
Sleep: There was a significant difference to the interac- PatIeNts: eVIDeNce FroM cochraNe
tion of sleep in the moment after WITH MUSIC (p = reVIeWs WIth FUtUre IMPLIcatIoNs
0.008).
Dileo, cheryl - Usa
Results of the evolution of physiological variables: FR, cdileo@temple.edu
FC, and O2 Sat as the influence of Musical Accent. Bradt, Joke - Usa
When comparing the average of the quantitative pa- jbradt@temple.edu
rameters FR, FC and O2 of the SAT 3 times (before,
during and after) WITHOUT MUSIC, with all moments
NO MUSIC, it was observed that the fall of the FC is abstract
higher in those interventions that were used accent bi-
This presentation offers information on emerging evi-
nary (p = 0.02).
dence-based music therapy clinical practice and re-
references search with individuals who have heart disease, are
Ambuel, B., Hamlett, K., Marx, C. y Blumer, J. (1992). Assesing receiving mechanical ventilation, have cancer, are ter-
distress in pediatric intensive care environments: the COM- minally ill or who are awaiting surgery. This information
FORT scale. Journal Pediatric Psychology, 17 (1):95-109. comes from the findings of several Cochrane reviews
Del Olmo, M., Tarrío, R., Carrasco, P., y Rodríguez, C. (2008). completed by the presenters. Cochrane reviews exam-
Musicoterapia en Cuidados Intensivos Pediátricos. Anales de ine research evidence on interventions using agreed-
Pediatría. Barcelona, 68 (supl 2): 112-113. upon criteria for quality evaluation. The steps involved
Loewy, J. (1997). Music Therapy and Pediatric Pain. Cherry in Cochrane reviews will be described briefly, including
Hill: Joann Loewy. the literature included in the current reviews. Proce-
Rodríguez, C. (2006). Del ritmo al símbolo. Los signos en el dures for the analyses will be described, and a sum-
nacimiento de la inteligencia.Barcelona: ICE-Horsori. mary of the results of the reviews will be presented.
Ruza, F.J. (2003). Tratado de cuidados intensivos pediátricos. A distinction will be made regarding the two main cate-
Madrid: Norma-Capitel gories of music interventions for medical patients found
Keywords: music therapy, interaction, Comfort, Beha- in the reviews: music medicine and music therapy. Reco-
vior. mmendations for future research, via a research agenda,
will be presented. This agenda will include important to-
María Jesús del olmo. Music Therapy Doctor, Faculty pics and areas for future research that have been neglec-
of Medicine Universidad Autónoma, Madrid Spain. ted in the literature thus far. In addition, considerations for
Music Therapist and Musician. Assistant Director of future research methodology and designs will be empha-
Music Therapy Master Degree Universidad Autónoma, sized to enhance the evidence-base in the field.
Madrid Spain. mariajesus_d@yahoo.es
http://www.uam.es/centros/medicina/ references
musicoterapia/principal.html Dileo, C. & Bradt, J. (2005). Medical Music Therapy: A Meta-
Analysis of the Literature and an Agenda for Future Research.
cintia rodríguez Garrido. Universidad Autónoma de Cherry Hill, NJ: Jeffrey Books.
Madrid. Expert in early development, communication
Bradt, J. & Dileo, C. (2009). Music for people with coronary
and object use from a semiotical and pragmatic pers- heart disease. [Systematic Review] Cochrane Heart Group
pective. cintia.rodriguez@uam.es Cochrane Database of Systematic Reviews. 2.
Francisco ruza tarrío. Associate Professor of Pedia- Dileo, C. Bradt, J. & Grocke, D. (2008). Music interventions for
trics at the Autonomous University of Madrid. He directs mechanically ventilated patients. [Protocol] Cochrane Anaes-
the Pediatric Intensive Care Department and the Emer- thesia Group Cochrane Database of Systematic Reviews. 4.
gency Department at Children's Hospital «La Paz» Ma- Bradt, J., Magee, W., Dileo, C., Wheeler, B. L., & McGilloway,
drid. He has trained generations of pediatric intensive E. (2008) Music
care in Spain, Portugal and much of Latin America, therapy for acquired brain injury. [Protocol] Cochrane Stroke
today many of them international leaders. Group Cochrane Database of Systematic Reviews. 4.
fruza.hulp@salud.madrid.org Dileo, C., Bradt, J., Grocke, D., & Magill, L (2008). Music inter-
ventions for improving psychological and physical outcomes
in cancer patients. [Protocol] Cochrane Gynaecological Can-
cer Group Cochrane Database of Systematic Reviews. 4.

Keywords: Evidence-based practice, Cochrane review,


systematic review, meta-analysis
cheryl Dileo is the Carnell Professor of Music Therapy,
Coordinator of Music Therapy PhD Program and Direc-
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 31

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

Loewy, J. (Ed.). (2000). Musictherapy in Neonatal Care Unit.


MUsIc theraPy WIth PreMatUre New York: Satchnote Press
INFaNts: INsIGhts INto systeMatIc Nöcker-Ribaupierre, M. (1995). Auditive Stimulation nach
reVIeW FINDINGs aND PractIcaL Frühgeburt. Stuttgart: Gustav Fischer Verlag
aPProaches Standley, J. M. (2002). A meta-analysis of the efficacy of music
therapy for premature infants. J Pediatr Nurs, 17(2), 107-113.
haslbeck, Friederike - Germany
musiktherapie@haslbecks.info Keywords: Music therapy; premature infants; NICU; in-
tegrative review; case study.
Friederike haslbeck. NICU-MT, has implemented mu-
abstract sic therapy on the NICU at the children’s hospital Bethel
The incidence of premature infants is rising. Thus, a va- in Bielefeld, Germany. She is investigating music thera-
riety of music therapy approaches has been developed py with premature infants as part of her doctoral stu-
to support these vulnerable patients and their parents dies supervised by David Aldridge.
in Neonatal Intensive Care Units (NICU). Research on musiktherapie@haslbecks.info
music therapy with premature infants is also expanding http://www.haslbecks.info
worldwide. The purpose of this presentation is twofold:
(I) to give an overview over empirical findings on music
therapy in the NICU and (II) to present practical ap- UNcoVerING hIDDeN PoteNtIaLs:
proaches of music therapy with premature infants and coLLaBoratIoN oF MUsIc
their parents giving special attention to Nordoff/Rob- theraPIsts aroUND the WorLD
bins’ creative music therapy.
The presentation is (I) based on early results from a cur-
heiderscheit, annie - Usa
rently on-going systematic integrative review on music ther- heide007@umn.edu
apy in the NICU. Identified studies include interventions Jackson, Nancy - Usa
from a variety of disciplines and the review findings indi- jacksonn@ipfw.edu
cate that music therapy in the NICU has significant bene-
fits on premature infants, i. e. positive effects on behavioral
states and physiological parameters. Some studies also abstract
show positive aspects of music therapy on «premature Collaborating with various other professionals has the
parents». The impact of different types of auditive stimu- potential to unleash creative and valuable outcomes.
lation in the NICU will be introduced and discussed. These collaborations with professionals outside music
Furthermore, (II) music therapy approaches with prema- therapy can be key to advancing the music therapy pro-
ture infants will be presented. Stimulation concepts such fession. The results of a two qualitative studies of music
as the «breathing bear», the recorded voice of a child’s therapy collaborations will be presented, including music
mother or more complex interventions like «Pacifier-Acti- therapists’ collaborations as clinicians, researchers, and
vated-Lullabies» and “Multimodal Stimulation” will be in- educators, in projects with other music therapists, with
troduced. The potentials and limits of these approaches other creative arts therapists, with other treatment modal-
will be discussed using case study examples of Creative ities (OT, PT, SP, physicians, nurses, etc.)
Music Therapy with premature infants and their parents. The presenters will compare the data from the two sur-
Special attention will be given to the quality of music ther- veys; one including data from collaborative experiences
apy, i. e. how music therapy can evolve in a dialogue with in the United States and the second from music thera-
preterm infants and their parents –a topic that, so far, has pists outside the United States. The benefits from and
been rarely touched in the literature. Finally, future trends the difficulties in the collaborative process will be iden-
and implications for clinical practice and research in tified based on survey data. Presenters will also share
music therapy in the NICU will be discussed. numerous examples of collaborations with various pro-
fessionals in a variety of settings and the outcomes of
references
those conjoined projects and efforts. Discussion will
Arnon, S., Shapsa, A., Forman, L., Regev, R., Bauer, S., Litma-
focus on the process of identifying potential collabora-
novitz, I., Dolfin, T. (2006). Live music is beneficial to preterm
tive projects and the appropriate individuals and groups
infants in the neonatal intensive care unit environment. Birth,
to collaborate with to assist in carrying out those proj-
33(2), 131-136
ects, with the intention of stimulating in the attendees
Haslbeck, F. (2004): Music Therapy with preterm infants - The-
the desire to explore future collaborative possibilities.
oretical approach and first practical experience. Music Thera -
py Today 04, Nr. Aug. Online Access references
http://musictherapyworld.net/modules/mmmagazine/ Dillengourge, P. (1999). Collaborative learning: Cognitive and
issues/20040727092613/20040727094302/MTT5_4_Haslbeck Computational Approaches & Advances in Learning and In-
.pdf (05.10.2009) struction. Elsevier Science, Inc. New York, New York.
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 37

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

DIr aND creatIVe MUsIc theraPy IN


the coMPLeX WorLD oF aUtIsM
MUsIcDIaGNosIs – a NeW coNcePt,
hensel, stacey - Usa
assocIateD to MUsIc theraPy
staceyhensel@hotmail.com
Iamandescu, Ioan Bradu - romania
iamandb@yahoo.com
abstract
With so much emphasis on Autism the complexity of
treatment options is vast. As clinicians we hear many abstract
terms and we are exposed to many different treatments
Background Musicdiagnosis (MD) represents a con-
options. To name a few; sensory processing issues, re-
cept based on music- psyche` isomorphism, namely
gulation/ dysregualtion, cumulative touch effect, apra-
the parallel between the two items: structural items (
xia, mirror neurons, optimal arousal, the list goes on.
melody, rhythm, tempo, harmony, sound intensity, etc.)
This presentation will integrate these concepts into cli-
that was just listened to, and «mental» items (eg. Psy-
nical music therapy work. The work will be discussed
chological processes<particularly, cognitive and emo-
not only from the perspective of the music therapists,
tional ones>).
but other team members. What does the speech the-
rapist see happening? the occupational therapist? the Method MD can be accomplished by trial of the subject`s/
psychologist? the teacher? These perspectives are so patient`s psychic, done with the help of the music. This
important in the way we discus music therapy in team can be achieved by the assessment of subjects` answers,
meetings, how we write assessments and how we do- especially of their contents received after listening one or
cument the work. How does all of this relate to creative more music pieces (ideally the same set) and, as well as
music therapy? Specific techniques and philosophies by observing the subjects’ nonverbal behavior.
38 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress

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

charlotte Lindvang. MA in Music Therapy – presently


seLF-eXPerIeNtIaL LearNING –
part time Ph D-student at Aalborg University, Denmark.
a research INQUIry INto MUsIc Clinical experience primarily in Psychiatry and private
theraPy stUDeNts’ PersPectIVe practice. Formerly employed in the Music Therapy train-
ing program at Aalborg University, Denmark.
Lindvang, charlotte - Denmark
chli@mail.tdcadsl.dk
chli@mail.tdcadsl.dk

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

references Forty music therapists and other music specialists


Digard, L., Grafin von Sponeck, A. and Liebling, A., (2007). All working in therapeutic and health settings were inter-
Together Now. The therapeutic potential of a prison-based music viewed using semi-structured interview methods. The
programme. In Prison Service Journal, Issue 170 pp. 3-14. research aimed to explore the skills and clinical deci-
Gold, L., (2005). Music in Bali. OUP New York. sion making involved in using electronic music tech-
MacDonald, R.A.R., O’Donnell, P.J. and Davies, J.B., (1999). nologies with infants, children, adolescents, adults and
An Empirical Investigation into the Effects of Structured Music elderly people in acute, chronic, health, education and
Workshops for Individuals with Intellectual Disabilities. In Jour- community settings. Analysis used ATLAS software and
nal of Applied Research in Intellectual Disabilities BILD Publi- open coding procedures from Grounded Theory.
cations.
The key findings answer these questions: a) what is the
Sanger, A., and Kippen, J., (1987). Applied Ethnomusicology: range of electronic music technologies being used in
The Use of Balinese Gamelan in Recreational and Educational therapeutic settings in the UK and the USA?, b) Which
Music Therapy. In British Journal of Music Education 4:1, pp.
clinical populations can benefit from these tools?, c)
5-16.
How are these clinical tools being used in practice?, d)
Keywords: Gamelan, ethnomusicology, music therapy Which clinical situations prompt the use of electronic
practice. music technologies?
helen Loth is Senior Lecturer in Music Therapy. Her The findings provide recommendations and guidance
music therapy experience includes mental health, eat- for using EMTs in clinical practice.
ing disorders and learning disabled children and fami- references
lies. She plays Javanese and Balinese gamelan.
Magee, W.L. (2006). Electronic technologies in clinical music
helen.loth@anglia.ac.uk
therapy: a survey of practice and attitudes. Technology and
Disability, 18(3), 139-146.
Magee, W.L. & Burland, K. (2008). An exploratory study of the
use of electronic music technologies in clinical music therapy.
UsING MUsIc techNoLoGy IN Nordic Journal of Music Therapy, 17(2),124-141.
cLINIcaL PractIce: What, Who, Magee, W.L. & Burland, K. (2008). Using electronic music
hoW, WheN aND Why? technologies in clinical practice: opportunities and limitations.
British Journal Of Music Therapy, 22(1), 3-15.
Magee, Wendy - UK
Keywords: Technology; MIDI; software; assistive;
drwmagee@rhn.org.uk
switch.
Wendy Magee. Post-doctoral fellow in Music Therapy
abstract and neurology. Extensive research publications in neuro-
There is a growing demand for music therapists to logy, technology, complex conditions and measurement
apply electronic music technologies (EMTs) in practice tools. Awardee of Leverhulme Study Abroad Fellowship
including computer music software, specialist input de- 2009-10 (see http://www.rhn.org.uk/institute/wmagee).
vices such as switches and sensors, and a variety of drwmagee@rhn.org.uk
MIDI instruments. A study of music therapy practice in
the UK proposed a five-step treatment model when
using EMTs with people with complex needs. Accurate
assessment of the client’s movement, accurate posi-
Mother aND DaUGhter IN MUsIc
tioning of assistive device, and establishing the client’s theraPy. soUND sPace stUDy, aND
awareness of cause and effect were found to be central Its UNIVersaLIty IN MUsIcotheraPy
in meeting clinical aims. Clinical indicators proposed
Mahé Mongiorgi, Felice - France
included complex physical and sensory disabilities;
motivational problems; and specific needs pertaining cantapsy@orange.fr
to expressing identity. Tentative contraindications were Parbeau, Genevieve - France
proposed in cases where the client’s awareness of felicie.marie@wanadoo.fr
cause and effect is absent.
Building on these previous research findings, an ex-
tended study explored the application of EMTs in ther- abstract
apeutic and health settings in the USA. A sample of The importance of music for the mentally disabled
clinicians were recruited from professional networks adults, who are completely or partly deprived of speech,
who had experience with or training in using electronic has brought us to use music therapy in our «medical
music technologies in practice. and social institution» for over 30 years now.
42 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress

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.

Keywords: improvisational, music psychotherapy, in-


tegrated approach, balance.
elzbieta Masiak is a psychologist, active jazz musician,
IMProVIsatIoNaL MUsIc and music therapist working clinically in adult psychia-
PsychotheraPy – searchING try, as well as a university lecturer and researcher in the
For BaLaNce field of music psychology and music therapy.
ellamasi@yahoo.com
Masiak, elzbieta - Poland
ellamasi@yahoo.com

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

Svansdottir, H. B. and Snaedal, J. (2006). Music therapy in


eLaBoratIoN oF a MUsIc theraPy moderate and severe dementia of Alzheimer’s type: a case-
assessMeNt systeM For PeoPLe control study. International Psychogeriatrics, 18, pp 613-621.

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

of professional music therapists have initiated several


programs in the medical-hospital settings. eVaLUatING MUsIc IN coMMUNIty
MUsIc theraPy
This book compiles some of the projects which are
being implemented at the present time in hospitals, re- Numata, rii - Japan
habilitation centers, associations of patients in Spain. riinumata@r8.dion.ne.jp
In some cases, there are interventions which started as
pilot projects, and later have become well implemented
and on-going programs in institutions. Other experien- abstract
ces have just remained a pilot project, without continui-
ty, but have been included in this book because of their This paper considers music played in Community Mu-
interesting and valuable contributions to this discipline. sic Therapy by referring the discussions on Outsider
The chapters address the following topics: pre-natal Art, art created outside the boundaries of official culture.
care, pain, cancer, palliative care, Parkinson, ICU (in- Music played in Music Therapy is considered as means
tensive care units), hemodyalisis, and pediatrics. or medium in therapeutic process. Even though songs
or CDs are made by therapists and clients, it is consi-
This presentation will highlight the therapeutic objectives dered just as therapeutic outcome or by-product. How-
most frequently addressed by the music therapists work- ever, in recent Community Music Therapy practice, the
ing in this field, some of the music therapy techniques performance by clients (or participants, members) often
and evaluation most often used in the different areas. The becomes an opportunity to be evaluated by wide range
aim of this book, besides compiling some of the music of audience.
therapy experiences that are implemented by Spanish
music therapists in the medical field, is to contribute to In art field, works by mentally challenged or develop-
increase the number of publications on music therapy in mentally delayed people are regarded as an art form
Spanish, and to help to the recognition of the field. since the beginning of 20th century and recognized as
Outsider Art. However, there appear constant disputes
references on evaluation of them between artists, art critics and
Illiard, R. E. (2003). The effects of music therapy on the quality professionals in medical/welfare field. Professionals in
and length of life of people diagnosed with terminal cancer. art field are apprehensive about the art to be weakened
Journal of Music Therapy. 40(2), 113-137. by viewpoint of welfare, whereas professionals in me-
Kennelly, J. y Edwards, J. (1997). Providing music therapy for dical or welfare field points more on artists’ intention or
the unconscious child in the paediatric intensive care unit. The quality of life of them than art itself. A key to the settle-
Australian Journal of Music Therapy (AJMT),18, 18-29. ment of the dispute can be discussed by exploring the
Lorch, C., Lorch, V., Diefendorf, A. y Earl, P. (1994). Effect of relationship between people with and without disability.
Stimulative and Sedative Music on Systolic Blood Pressure,
Heart Rate, and Respiratory Rate in Premature Infants. Journal In the recent discussion around Community Music Ther-
of Music Therapy, 31 (2), 105-118. apy, the social, cultural and political aspects have been
focused, and meaning of the performance in the thera-
Standley, J. (1992). Clinical application of music and chemo-
therapy: The effects on nausea and emesis. Music Therapy peutic setting have been discussed (Ansdell, Gary
Perspectives, 10, 27-35. (2005). Being Who You Aren’t; Doing What You Can’t:
Standley, J. (2000). Music Research in Medical Treatment
Community Music Therapy & the Paradoxes of Perfor-
Therapy. In AMTA (Ed.), Effectiveness of Music Therapy Proce- mance. Voices: A World Forum for Music Therapy.), but
dures: Documentation of Research and Clinical Practice (pp.1- not very much on the music played there. In this presen-
64). Silver Spring, MD: American Music Therapy Association. tation, I will discuss on the possibility of evaluating music
in Community Music Therapy referring a clinical report
Keywords: Music therapy, Medicine, Hospital.
by Stige(Stige, Brynjulf (2002). Culture-Centered Music
Melissa Mercadal-Brotons. Psychologist (UB). Master Therapy. Gilsum, NH: Barcelona Publishers), which has
in Music Therapy (FSU). PhD in Music Education (UOF). used a form of improvisation to collaborate with a choir
Director of the Master in Music Therapy (UPF, Barcelo - in the community. Finally, I would like to introduce my
na). Music therapist in AFABL (Barcelona). own Community Music Therapy practices which were
melissa.mercadal@idec.upf.edu based on above mentioned discussions and theories.

Patricia Marti. Psychologist (UB), Master in Music ther- references


apy (UB). Master in Psycho-oncology (ISEP). Clinical Stige, B. (2002). Culture-Centered Music Therapy. Barcelona
Internship in Miami’s Children’s Hospital (FL-USA). Mu- Publishers.
sic therapist at ONCOLLIGA (Barcelona and Terrassa). Chusid, I.(2000). Songs in the Key of Z. The Curious Universe
Professor of the Master in Music Therapy (UPF, Barce - of Outsider Music. A Cappella Books.
lona). patmarti.mt@gmail.com Pavlicevic, M., Ansdell, G. eds. (2004). Community Music
Therapy. Jessica Kingsley Publishers.
Ansdell, G. (2005). Being Who You Aren’t; Doing What You
Can’t: Community Music Therapy & the Paradoxes of Perfor-
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 45

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

The results indicated significant associations between


certain types of parenting and family patterns (e.g. neg- PercePtIoN oF eMotIoNs IN MUsIc
ligent parents, excessive worrying in the family, parents’ By DePresseD PatIeNts
responsiveness to children’s needs) and PA level (e.g.
Punkanen, Marko - Finland
fear of making mistakes even if the performance is well-
prepared, never knowing before a concert whether one marko@nyanssi.net
will perform well, getting feelings akin to panic prior to
or during a performance). Scores on the K-MPAI were
significantly related to scores on the measures of state abstract
and trait anxiety. No significant differences were found Impairments in the ability to recognize and discriminate
in PA and state and trait anxiety levels between users other people’s affective states can be linked to prob-
and not users of certain coping strategies. Though, lems in social and interpersonal relations. This problem
some significant differences were found in some par- appears very clearly with patients suffering from mood
ticular scales of K-MPAI between users and not users disorders like depression. Depression is a huge and in-
of certain coping strategies. The results also provide creasing problem in health-care system. In fact it is the
general support to previous findings of gender differ- most frequent mental disorder in Finland.
ences in PA and the associations between PA-degree
Previous studies have shown that depression affects per-
and trait anxiety level.
son’s ability to recognize for example emotionally neutral
Possible uses of psychodynamic music therapy (e.g. faces (Leppänen et al., 2004). Depression patients also
BMGIM) in reducing PA by focusing on early experien- have a systematic bias expressing emotions in music
ces that might be connected to producing and increa- (Bodner, Iancu, Gilboa, Sarel, Mazor & Amir, 2007). In one
sing anxiety will be discussed, e.g. from the perspective study depressed patients demonstrated emotional over-
of Attachment Theory. The discourse will be illustrated estimation of classical music excerpts when compared
by relevant case examples that are part of an ongoing to healthy subjects (Al’tman et al., 2000).
qualitative study.
In this study perception of emotion qualities of musical
references examples was investigated in depression patients and
Barlow, D. (2000). Unravelling the Mysteries of Anxiety and its healthy participants in a behavioural experiment. Par-
Disorders from the Perspective of Emotion Theory. American ticipants rated a set of 30 music excerpts representing
Psychologist. Vol 55 (11), 1247-1263. five basic emotions in terms of the discrete emotion.
Bowlby, J. (1973). Attachment and Loss, vol 2. Separation – The results showed that the ratings of the clinical group
Anxiety and Anger. New York: Basic Books. differed significantly from the control group.
Bruscia, K. (1998). The Dynamics of Music Psychotherapy. references
New York: Barcelona Publishers.
Leppänen, J. M. (2006). Emotional information processing in
Kenny, D.T., Davis, P., Oates, J. (2004). Music performance mood disorders: a review of behavioral and neuroimaging
anxiety and occupational stress amongst opera chorus artists findings. Current Opinion in Psychiatry, 19(1), 34-39.
and their relationship with state and trait anxiety and perfec-
Rotenberg, V. S. (2008). Functional brain asymmetry as a de-
tionism. Journal of Anxiety Disorders, Vol 18 (6), 757-777.
terminative factor in the treatment of depression: Theoretical
Prigerson, H. G., Shear M. K., Bierhals, A. J., Zonarich, D. L.,
implications. Progress in Neuro-Psychopharmacology & Bio-
Reynolds III, C. F. (1996). Childhood Adversity, Attachment and
logical Psychiatry, 32, 1772-1777.
Personality Styles as Predictors of Anxiety Among Elderly
Caregivers. Anxiety. Vol 2, 234-241. Honkalampi, K., Hintikka, J., Tanskanen, A., Lehtonen, J., & Vi-
inamäki, H. (2000). Depression is strongly associated with
Keywords: Performance anxiety, early relations, Attach- alexithymia in the general population. Journal of Psychoso-
ment Theory, psychodynamic music therapy. matic Research, 48(1), 99-104.

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.

Keywords: Depression, music, perception of emotion


Marko Punkanen. M.Phil., Music Therapist, Dance/
Movement Therapist, Psychotherapist, currently works
as a music therapy researcher in Finnish Centre of Ex-
cellence in Interdisciplinary Music Research in Univer-
sity of Jyväskylä. marko@nyanssi.net
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 47

Rapiteanu, C. (2009). An Experimental Research of Psychoso-


the PsychosoMatIc IMPact oF matic Impact of Music of Hypertensive Patients, International
the syMPhoNIc MUsIc oF the Conference «Psychology and Society», organized by Faculty
of Psychology, Titu Maiorescu University, May 30 - 31, 2009
hyPerteNsIVe PatIeNts
Rapiteanu, C. (2008). Psychological Effects of Music. Roman-
rapiteanu, carmen - romania ian Medical Journal, vol LV, no 1 Amalteea Medical House.
carmenrapit@yahoo.com Keywords: Music, psychosomatic impact, hyperten-
sive patient.

abstract carmen rapiteanu. I am assistant professor, principal


clinician psychologist and family physician in Bucha-
This experimental study investigated the effects of dif-
rest. My current interests are the psychological and
ferent types of symphonic music on the physiological
physiological effects of music and the applications of
and emotional responses of hypertensive patients com-
music therapy in the medical field.
parative with healthy people. Clients listened contrast-
carmenrapit@yahoo.com
ing symphonic musical excerpts, which were selected
to express different emotions and feelings.
Physiological variables (systolic blood pressure, dias-
tolic blood pressure, pulse-rate, ECG, rate of breathing traNsLatIoN, DescrIPtIoN aND Use
and oxygen saturation) were recorded for twenty min- oF the «aQr»: aN INstrUMeNt For
utes before listening to music and during audition with
MIcroaNaLysIs oF reLatIoNshIPs
Vital Signs Monitor Compact 5. Emotional responses
were evaluated by a positive and negative mood states sabeh, eliana Noemí - spain
scale and the bodily sensations (somato-visceral cor- ensabeh@upsa.es
relates of these emotions) were appreciated by a psy- canga, Bernardo - spain
chosomatic symptoms scale. We measures these
variables before and after each musical fragment.
These questionnaires has been made, applied and val- abstract
idated from me in a previous study. The basic personal- Microanalysis is a useful method for analysing music
ity traits were evaluated with the Zuckerman– Kuhlman therapy interventions, registering minimal changes in
Personality Questionnaire (Romanian version) used with social, musical, emotional, or behavior experiences
the agreement of SC Cognitrom SRL. The initial emo- within a therapeutic context. In the last years, research
tional distress was evaluated with HADS (Hospital Anx- studies have focused on the development of tools that
iety and Depression Scale). involve microanalysis. One of this tools is The «AQR»
The research groups (124 hypertensive patients in the (Schumacher and Calvet, 2007), an observation instru-
experimental group and 124 healthy subjects in the ment to assess the quality of a therapeutic relationship.
control group) were similar in what concerns the age, It contains four scales: 1. Instrumental quality of rela-
the sex repartition and the intellectual level (medium / tionship; 2. Vocal-pre-speech of relationship; 3. Physi-
high), as well as the low usage of symphonic music. cal-emotional quality of relationship; 4. Therapeutic
quality of relationship. In this paper, we first describe in
The results of this study demonstrated that the psycho- depth the characteristics of this instrument. Second, we
somatic impact of music is greater at hypertensive pa- present the translation process we have followed, from
tients than healthy people and it depends on a series English to Spanish. And third, we analyse the possible
of variables: music attributes (such as rhythm, tonality, uses of the instrument in music therapy interventions
tempo), the interpretation of the ideational message of with persons with intellectual disabilities and no verbal
music, personality traits and emotional state of the lis- communication skills.
teners.
references
This study shows that is very important in musical ex-
Schumacher, K. y Calvet, C. (2007). The AQR Instrument (As-
cerpts selections for music therapy to take into account
sesment of the Quality of relationship). An Observational In-
not only the structural aspects of music, but also the strument to Asses The Quality of a Relationship. En T. Wigram
psychological factors mentioned above. y T. Wosch (Eds.), Microanalysis in Music Therapy. Methods,
references Techniques and Applications for Clinicians, Researches, Edu-
cators and Students (pp.79-91). Londres: Jessika Kingsley
Rapiteanu, C. (2009). Experimental study regarding the rela-
Publishers.
tionship between the emotional impact of symphonic music
and personality features of the auditory. Journal of Experential Wosch, T. y Wigram, T. (Eds). (2007). Microanalysis in Music
Psychotherapy, no 3 (47), SPER Publishing House. Therapy: Introduction and Theoretical Bases. En T. Wigram y
T. Wosch (Eds.), Microanalysis in Music Therapy. Methods,
48 | scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress

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.

the MUsIc theraPy treatMeNt Keywords: Emotional disturbances, timeouts.


PacKaGe For yoUNG stUDeNts Kumi sato is a graduate student at State University of
WIth eMotIoNaL DIstUrBaNces New York at New Paltz. sato46@newpaltz.edu
sato, Kumi - Usa
sato46@newpaltz.edu
PsychoDyNaMIc MUsIc theraPy IN
abstract coMMUNIcatIoN oF chILDreN WIth
In special education classroom settings, timeout is aUtIsM
practiced as an effective intervention for students with
schulz Gattino, Gustavo - Brazil
emotional disturbances and behavioral problems to re-
gustavogattino@terra.com.br
duce their inappropriate behaviors. However, it may in-
fluence their academic achievement, which is another
significant need of this population, by reducing oppor-
abstract
tunities to learn the academic subject.
Music therapy has been growing in importance in the
Many studies have shown that assisting these students
treatment of autism spectrum disorders (ASD) children
understand the relation between emotion, mind, and
possibly for helping with the establishment of verbal and
behavior is effective for them to learn self-control skills
nonverbal communication skills through musical exper-
although few studies have focused on the skills they
iments. Sound-music activities involve different expres-
can apply when they actually need to regulate their
sive qualities, dynamic shapes and dialogues, besides
emotions.
representing an opportunity for the establishment of al-
The purpose of this study is to teach young children with ternative ways to communicate, helping the child to
emotional disturbances and behavioral problems an reach commitment, interaction and relationships with
emotion regulating skill to decrease the length of time- other individuals. The development of communication
outs and increase the length of time sitting in the class. skills through music therapy may help the child in estab-
The research question asks whether a treatment pack- lishing healthier types of social interaction and learning
age of progressive muscle relaxation and deep breathing capacities. This investigation studied the effects of psy-
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 49

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.

Keywords: Music Therapy; PTSD; effectiveness; treat-


ment-resistant; clinical improvisation.
abstract
ann sloboda is Head of Music Therapy at the Guildhall
The Music Therapy Department at the Guildhall School School of Music & Drama. She has over 20 years clini-
of Music and Drama and Institute of Psychotrauma, cal experience as a therapist and supervisor.
East London Foundation NHS Trust, have collaborated ann.sloboda@gsmd.ac.uk
to investigate music therapy as an intervention for peo-
ple who have been diagnosed with post-traumatic catherine carr qualified as a music therapist in 2006.
stress disorder (PTSD). This is a local collaboration be- She works in an inpatient mental health setting in
tween a UK Health provider and conservatoire, and the North London and assists with mental health research
first time that a clinical music therapy research trial was at Southampton University.
conducted within the Guildhall School. catherinecarr@hotmail.com

Current guidelines for the treatment of PTSD advocate


Cognitive Behavioural Therapy (CBT) as the preferred
treatment (1). However, a significant minority of patients
MUsIc theraPy IN coNteMPorary
have not responded to CBT. Publications of qualitative
MeNtaLt heaLth care
research and case studies have demonstrated the use
of music therapy as a specialised intervention for peo- solli, hans Petter - Norway
ple with PTSD (Sutton, 2002). However, no quantitative
hpsolli@gmail.com
research had yet been undertaken to validate the effi-
cacy of music therapy as a PTSD treatment.
abstract
Two groups of patients from the psychotrauma clinic
participated in a ten-week programme of group music Literature about mental health treatment traditionally
therapy. They were selected because of the severity of appears to suggest that recovery is a result of the
their symptoms and their lack of response to CBT. thoughtfully and skilfully delivered interventions of well-
PTSD symptoms and mood were assessed weekly, trained and experienced professionals within the con-
over the course of the music therapy. Standard music text of various health care settings. Worldwide, mental
therapy techniques employed in Britain were used fea- health care has gone through some fundamental changes
turing loosely structured free improvisation and verbal and reforms since the 1990s up till today. Currently
reflection. Sessions were video recorded and detailed there is a strong trend towards a health service that is
process notes were made by the music therapists; exit more user-directed, recovery-oriented and socially-in-
interviews were conducted at the end of the 10 weeks tegrated. Considering contemporary mental health poli-
of therapy. These were then subject to further qualitative cy, treatment should to a larger degree focus on helping
analysis. people with serious mental disorders increasing their
Patients in the treatment group demonstrated a signi- autonomy and independence, so that users or patients
ficant reduction in symptom severity compared to the become more involved in their own care, become en-
control (Carr in press). This paper will display the study gaged with their communities, and can contribute as
design and initial outcomes. Live DVD examples of the participants in the society. This paper will explore theo-
work will then be used to examine the nature of patients’ retical developments and policy and practice initiatives
engagement and the therapeutic techniques that facil- in the complex and changing area of mental health ser-
itated this. Further avenues for research will be dis- vices, and illuminate how music therapy as a profession
cussed. and practice best can adjust to these changes. A case
from the presenters own practice at an inpatient mental
hospital in Norway will be presented. With that as a
scIeNtIFIc ProGraMMe | PaPers | theory & research | VIII European Music Therapy Congress | 51

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

Keywords: Emotions - Music Therapy - Psychology of


Priestley, M. (1994). Analytical music therapy. Phoenixville:
Emotion - Music Psychology - Clinical Improvisation.
Barcelona publishers.
Juslin, P.N. (2001). Communicating Emotion in Music Perform- thomas Wosch. PhD. Ten years of clinical practice in
ance. In: Juslin, P.N. & Sloboda, J.A. (Eds.): Music and Emo- psychiatry, 9 years at University of applied sciences of
tion. Oxford: Oxford University Press, 310-337. Magdeburg, since 2007 at University of applied sci-
Wosch, T. (2007): Measuring of Emotional Transitions in Clini- ences in Wuerzburg, international research, editor and
cal Improvisations with EQ 26.5. In: Wosch, T. & Wigram, T. teaching. thomas.wosch@fhws.de
(Eds.). Microanalysis in Music Therapy. London & Philadelphia:
Jessica Kingsley Publishers, 227-240.
54 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress

3.2.3.2. cLINIcAL PRAcTIcE & SuPERVISION

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

MuSIc THERAPY AS AN ALTERNATIVE


Abstract INTERVENTION AT THE cLOSED AcuTE
PSYcHIATRIc WARD
Music is important for persons with Rett syndrome –as
attested to by Andreas Rett himself– but how can music Berman, Albert - The Netherlands
be used? This presentation will give an overview of the albertberman@tiscali.nl
possibilities for how to use music in everyday life, and Wassink, Rianne - The Netherlands
how it will be applied more specifically as a therapeutic rianne.wassink@gmail.com
intervention for persons with Rett syndrome.
Throughout history, and in all parts of the world, wher- Abstract
ever remains of human beings have been unearthed or
discovered, alongside have been found «remains» of In the Netherlands, patients with acute psychiatric
music. We don’t know exactly why but music seems to symptoms are often initially admitted on a closed ward,
be a biological need, something people will always re- and if they’re suicidal or aggressive, they are locked up
quire in their lives. This paper will connect the general in a small cell. In recent years the awareness has grown
biological human need of music to the value of music that these separations are inhuman, and therefore al-
for persons with Rett syndrome (Merker & Wallin, 2001). ternatives have been considered. We want to establish
Research to date provides arguments for music prefer- more contact with these patients, and talking or going
ence ( Merker, Witt Engerström & Bergström-Isacsson, out for a walk together is not enough. The Symfora
2001) and the importance of music in communication Groep hospital in Amersfoort has run a pilot project with
and learning situations (Elefant, 2002) for people with music therapy for two years now. Two times a week, a
Rett syndrome. music therapist visits the closed ward to see patients
who are separated or staying at the closed group. We
Rett syndrome is a neurological disorder that is found offer a wide range of music on an iPod / portable sound
all over the world and the syndrome affects basic hu - system and we work at various sites (indoors on the
man functions such as communication, movement and ward or outdoors in the closed garden) with individuals
intellectual functioning. Rett syndrome is one of the few or with a group. The patients listen to music, sing, im-
diagnoses where the original medical authority, An- provise on djembe or small rhythm instruments, and
dreas Rett (as early as 1966), reported music as a ne- play the electronic drums, the guitar or keyboards. We
cessity and as a need for this population. burn CDs for those who benefit from listening. Although
some music therapists may think these patients are too
56 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress

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.

‘Huntington’s disease (HD) is an autosomal-dominant Keywords: Music therapy, Huntington’s disease.


progressive neurodegenerative disorder chatacterised Rebeka Bodak qualified as a music therapist in Aus-
by involuntary movements, cognitive decline, and be- tralia and currently works in London in neuro-rehabili-
havioural disorders leading to functional disability’ tation with adults living with complex brain injuries and
(Siesling et al. 1998). To date, a small selection of clini- neuro-degenerative conditions. rbodak@rhn.org.uk
cal practice articles (Daveson 2007, Davis & Magee
2001, Magee 1995) and one research article (Thaut et
al. 1999) have been published highlighting the benefits
of music therapy input for patients living with HD. MuSIc-THERAPY IN A PAEDIATRIc
Magee (1995) discusses the importance of adjusting ONcOLOGY / HEMATOLOGY uNIT
music therapy input with the changing needs of those
living with HD throughout the disease progression. capolsini, Lorenzo – Italy
Davis and Magee (2001) detail the use of improvisation sonolorenzo@libero.it
in an individual setting to meet expressive needs. More Rossi, Maria Dolores – Italy
recently, Daveson (2007) has emphasised the long-
mariolina.rossi@libero.it
term need for music therapy input in mid to late stages
of the disease in addressing emotional expression, and
communication and social needs. Drawing on this lite- Abstract
rature and a pilot in 2005, a larger scale project evolved
in 2009. The main aims of the project were to note and Premises: Although many patients are cured of hema-
evaluate clinical outcomes as well as explore salient tological malignancies, 18%-31% develop severe de-
areas for research. Working in a medical model in the pression, and even more anxious neurosis, needing
field of neuro-disability, it was important to develop an psychiatric therapy. Few reports are available on the
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 57

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

Methods: After preliminary evaluation of the patients’ casey, Órla - uK


psychological discomfort, music-therapy was started orla.casey@each.org.uk
with in-patients who were recovering from chemother-
apy-induced aplasia and in out-patients during follow-
up, using the following approaches: a) Individual and Abstract
group meetings in two music/theater laboratories; b) Bowlby (1969) postulates that the need for attachment
CD/DVD-recordings, projections and improvisations, is the primary drive of the individual. Innate attachment
and c) Questionnaire and evaluation cards. behaviours between mother and infant to ensure prox-
Results were discussed with the panel of psychologists, imity and survival in early years (eg. sucking, clinging,
psychiatrists, hematologists. Between September 2007 crying etc.) will make way over time for behaviours pro-
and 2009, 36 children (age range: 2-18 years), 6 foreig- moting individuation and autonomy (eg. development
ners, with leukemia, lymphoma or solid tumors were re- of distinction between self and other, locomotion, vo-
cruited to the music-therapy group and works are calization etc). Failure to engage fully with this process
involved in recording a CD, a DVD and in a recital. by either participant may have significant conse-
quences for maturity and development of the individual.
Conclusions: In a Pediatric Oncology/Hematology Unit
a music therapy programme: a) Is feasible and well-ac- In my music therapy work at a children’s hospice with
cepted by children, parents and staff; b) Helps mini- parents and pre-school children who are life-limited or
mize the psychological impact of hospital admission, life-threatened (including children with severe and com-
diagnostic work-up and therapy; c) Improves com- plex disabilities), I have become aware of disordered
pliance; d) Decreases feelings of solitude, demoraliza- attachments between parent and child. These interrup-
tion and instability, long winded and anomalous tions in attachment and individuation behaviours may
precarty; e) Requires study for a suitable theoretical be somewhat attributed to disability or illness whereby
orientation and application of a methodology that can the child cannot initiate necessary attachment beha-
affront and resolve the typical variables of this depart- viours to stimulate the parent to engage or separation
ment, and f) Is useful and inexpensive. behaviours to develop individuation. The response of
the parent to having a child with a disability or life threat-
References
ening illness may also lead to maladaptive attachment
Stern, D. (1987). Il mondo interpersonale del bambino, Torino: behaviours such as hypervigilance, omnipotence, dis-
Bollani Boringhieri.
engagement. When a child cannot separate by him/her-
Benenzon, R.O.;Wagner, G. & De Gainza, V.H (2007). La nuova self it is the role of the parent to facilitate separation.
musicoterapia Il Minotauro. But in the words of one mother, ‘How can I contemplate
AA.VV. (1996). Psicopatologia dell’ età evolutiva; Cap. VI sending my child to school when every day I struggle
L’équipe curante. Piccin-Nuova Libraria. to keep him alive?’
Maman, F. (2001). Quando la musica guarisce. Ed. Amrita.
I believe that music therapy has a unique role in sup-
Postacchini, Ricciotti & Borghesi (1997). Lineamenti di musi-
porting reparative attachment and separation work with
coterapia. Carocci.
the child who is life-limited or life-threatened and his/her
Keywords: Pediatric oncology/hematology; Innovative parent. In this presentation I will draw on my psychoana-
music-therapy model; Feelings of instability; Feasible. lytically-informed work with parent and toddler music
therapy groups and with parent groups in a children’s
Lorenzo capolsini. graduated in Education (Perugia
hospice. I will consider how parents and pre-school
University). Diploma in music therapy (4 years course
children behave in these situations and feedback of
58 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress

parent experiences before discussing the implications References


of these for music therapy practice. Baker, F. & Wigram, Tony (2009). Songwriting. Metodi, tecniche
e applicazioni cliniche per clinici, educatori e studenti di musi-
References
coterapia. Roma: ISMEZ.
Bowlby, J. (1969). Attachment and Loss, (Volume 1), London:
Bruscia, K. (1995). Casi clinici di Musicoterapia. Roma: ISMEZ.
Hogarth Press.
Bruscia, K. (2001). Modelli di improvvisazione in musicoterapia.
Blacher, J. & C. E. Meyers, (1983). ‘Review of Attachment For-
Roma: ISMEZ.
mation and Disorder in Handicapped Children’, American Jour-
nal of Mental Deficiency, Volume 87, No.4, pp. 359-371. Wigram, T. (2005). Improvvisazione. Metodi e tecniche per cli-
nici, educatori e studenti di musicoterapia. Roma: ISMEZ.
Aldridge, D. (1999). Music Therapy in Palliative Care, New
Voices, London: Jessica Kingsley. Keywords: Improvisation, Autism, Communication, In-
Rolland, J.S. (1987). ‘Anticipatory Loss: A Family Systems De- teraction, Comparison.
velopmental Framework’ Family Process, Volume 29, No.3, pp.
229-244.
Gianpiero cerrotta. Diploma (2003) in Piano at «Conser-
vatorio Statale di Musica» in Benevento (Italy). MT Diplo -
Clark, D. (1984-1997). Cambridge Group Work, Collected Pa-
ma at Isfom MT Institute (Naples, 2007) with a thesis on
pers, 4 George St., Cambridge, UK.
«Musical Improvisation in MT». Founder of «Mima & Gicò»
Keywords: Parent-toddler, attachment, hospice, antici- Ass. (Capri, Naples, Italy). cerrottagian@libero.it
patory loss.
Renato De Michele. MT Supervisor. WFMT, Commis-
Órla casey. Qualified from Anglia Ruskin University, sion on Clinical Practice Member. AIReM President (Ital.
Cambridge in 2003. She has worked for six years in a MT Register Ass.). Magister Benenzon Model.
Children’s Hospice and is Head of a County Music demikar@alice.it
Therapy schools service. Orla.casey@each.org.uk

cREATING A SAFE PLAcE IN THE


MIDST OF AGGRESSION. MuSIc
IMPROVISATION, GAME AND
THERAPY IN cHILD PSYcHIATRY
DIScOVERY WITH A FOuR YEARS-OLD
AuTISTIc cHILD Degryse, Marieke - Belgium
marieke_degryse@yahoo.com
cerrotta, Gianpiero - Italy
cerrottagian@libero.it
De Michele, Renato - Italy Abstract
demikar@alice.it Working as a music therapist in Fioretti, a small
psychiatric department of the Dr.Guislain hospital with
a capacity of 15 children between the age of 6 and 17
Abstract with learning disabilities, we are confronted with a lot of
S. is a 4-years-old female child. About one year ago aggression. Most of these children have attachment di-
autism has been been diagnosed to her. She few inter- sorders and severe behavioural problems.
acts either with her own parents or with extraneous peo- In this presentation we will focus on the socio-emotional
ple. She doesn’t speak, nor even pronounce the simple development of the children and the relating aggres-
typical words in a child of her age. sion, using the theoretical psychodynamic frame of
The music-therapeutical work (still in progress) started Anton Dosen, based on the ideas of Mahler and
in January 2009. During his two-sessions-a-week path Bowlby. Dosen considers aggression in early emotional
the therapist worked at first to establish a valid and solid development as dysregulation. Within his model this is
therapeutical relationship, then for using it to facilitate opposed to homeostasis.
and increase a non-verbal communication. Further elaboration on these concepts from a music
The music therapy techniques were mainly incentrated therapeutical perspective will be offered, which will pro-
on improvisation. Those have underlined the evidence vide the necessary conceptual framework wherein
of a strong predisposition, in the child, to produce vo- music therapy with developmentally delayed children
calizations in an extemporaneous way (time in time with psychiatric problems may come about. Elements
more complex) combining them with the harmonic im- as structure, safety and trust prove to be pivotal in order
provisation produced by the therapist with the piano. to make the child develop an attachment and relation-
Comparing along the path the improvement of her im- ship based on trust, and form an own identity.
provisation abilities, it has been possible to get a quan- Starting from different case studies, we will show that
titative and qualitative analysis in the progress done by playing techniques in individual music therapy sessions
the child in less than one year of therapy. are often necessary to maintain safety, leading to some
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 59

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

Our goal is to show how this technological resource can


«FFFORTISSIMO» – RESEARcH
be inserted in therapeutic or pedagogic contexts through
a practical experience, aiming not to replace, but to ex- INTERVENTION IN NEAPOLITAN
tend the conventional process of rehabilitation providing ScHOOL cIRcLES
greater opportunities for patients and therapists. Since
De Michele, Renato - Italy
the software application is low cost, we hope that pa-
tients use it software at home to complement the reha-
demikar@alice.it
bilitation activities. With household use, we hope that this De Rosa, Elena - Italy
software can motivate the family to participate in thera- elen.derosa@virgilio.it
peutic home activities, contributing to their social inte- Facchini Diana - Italy
gration and thus improving their life quality. facchinidiana@libero.it
References carloni, Marina - Italy
Jackson, N. (2008). Professional Music Therapy Supervision: info@ismez.org
A Survey. Journal of Music Therapy, vol. 45, 192–216.
Jones, J. (2006). Songs Composed for Use in Music Therapy:
A Survey of Original Songwriting Practices of Music Therapists. Abstract
Journal of Music Therapy, vol. 43, 94-110.
A research-intervention is presented (2006-2008). It’s
Meir, L. (2007). Assistive Technology and Supplementary Treat- been realized in four schools of Naples (Italy), under the
ment for Individuals with Rett Syndrome. The Scientific World
direction of ISMEZ Institute, Rome. It’s on the behalf of
Journal, vol. 7, 903-948.
the Presidency of the Italian Republic; Presidency of the
Louro, C., Ikuta, M. Nascimento, M.F. (2005). Música e Defi- Council of Ministers; Ministry of Education; Campania
ciência: Levantamento de adaptações para o fazer musical Region, Province of Naples and Municipality of Naples;
de pessoas com deficiência. Arquivos Brasileiros de Paralisia
in collaboration with ISFOM Institute of Naples.
Cerebral, vol. 1, 11-17.
Azuma, R. (1997). Recent Advances in Augmented Reality. In: The goal of the research, study and intervention project
Presence Teleoperators and Virtual Environments, pp. 355-385. was to prove the efficacy of music therapy techniques
in the process of integration and modification of impor-
Keywords: Assistive technology, augmented reality, ce- tant relational behaviours in groups. ISMEZ/Onlus pro-
rebral palsy moted the project and entrusted three expert music
Marilena do Nascimento: Supervisor of Music Ther- therapists, Renato De Michele, Elena De Rosa and
apy Rehabilitation of Association of Assistance to Dis- Diana Facchini, with their scientific co-ordination and su-
abled Child in Sao Paulo-Brazil. Specialist in Behavioral pervision. All in all 71 professionals co-operated at the
Medicine (UNIFESP). President of the Brazilian Associ- project: 3 coordinators, 3 MT supervisors, 37 music
ation of Cerebral Palsy. therapists, 24 teachers, 4 psychologists (+1 supervisor).
marilena.nascimento@gmail.com Workshops aims
mnascimento@aacd.org.br • activation of sound communication (ability of identifying and
developing one’s own sound lived experiences).
Ana Grasielle Dionísio corrêa: degree in Computer • sound activation as expression and put at stake of one’s
Engineering and M. Sc. Degree in Eletrical Engineering own Self and of affects in relation to Others.
from the University of São Paulo, USP. Currently, she is • appropriation of the ability of sound production in a creative
Phd student at the Electronic Systems Engineering De- form.
partment of Politecnic School of University of São • awareness of sound gestures and communicative gestures.
Paulo, USP. anagrasi@lsi.usp.br • stimulation of sound musical abilities to bettering the group.
Observation tools: observation materials, video shoot-
Irene Karaguilla Ficheman receved her doctorate in
ing, protocols processing.
2008 from the University of São Paulo, at the Electronic
Systems Engineering Department. Currently, she is References
manager of group about Learning, Work and Entertain- Bruscia, K.E. (1987). Improvisational models of music therapy.
ment of Polytechnic School of USP. irene@lsi.usp.br Springfield: Charles C. Thomas.

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

Keywords: Research, Intervention, School, Children. References


Renato De Michele. Music Therapy Research Super- Gold, C., Solli, H. P., Krüger, V., & Lie, S. A. (2009). Dose-res-
ponse relationship in music therapy for people with serious
visor; WFMT Commission on Clinical Practice Member;
mental disorders: Systematic review and meta-analysis. Clini-
AIReM Founder and President (Ital. MT Register Ass.).
cal Psychology Review, 29, 193-207.
demikar@alice.it
Hillecke, T. & Dulger, A. (2007). Was ist evidenzbasiert? Der
Elena De Rosa. PhD. Music Therapy Research Super- Begriff Evidenzbasierung und seine Bedeutung in der Musik-
visor; Psychologist, ISFOM Institute advisor; UOSM 48, therapie [What is evidence-based? The term evidence base
within DSM (Mental Health Dept.) in ASL Napoli 1 Cen- and its meaning in music therapy]. Musiktherapeutische Ums-
tro. elen.derosa@virgilio.it chau, 28, 171-176.
APA Presidential Task Force on Evidence-Based Practice
Diana Facchini. Music Therapy Research Supervisor;
(2006). Evidence-based practice in psychology. American
ISFOM Founder, President, Institute advisor; teacher of Psychologist, 61, 271-285.
Music in Italian State Schools. facchinidiana@libero.it
Keywords: evidence-based practice, applicability of
Marina carloni. ISMEZ President & Founder, ISMEZ research findings, working conditions.
Publisher, Rome. info@ismez.org
Monika Geretsegger. Completed studies in music the-
rapy (Mag. art.), psychology (Mag. rer.nat.), linguistics
(Mag. phil.), and interdisciplinary communication. Cu-
rrently works as a music therapist at a department for
RELATIONSHIP STATuS: IT’S cOMPLI-
social psychiatry, and in private practice.
cATED – RESEARcH AND cLINIcAL
monikageretsegger@gmx.at
PRAcTIcE IN MuSIc THERAPY
Elisabeth Kaczynski. Completed studies in music the-
Geretsegger, Monica - Austria rapy in Vienna. Works as a music therapist at a department
monikageretsegger@gmx.at for psychiatry and psychotherapeutic medicine. Ten years’
Kaczynski, Elizabeth - Austria experience with people with serious mental disorders.

Abstract ADVANcES IN THE MAP: A GRAPHIc


METHOD FOR ANALYzING MuSIc
In today’s health care systems and health care policies,
THERAPY SESSIONS
evidence-based practice has become an important fac-
tor. The remarkable career of the term «evidence- Gilboa, Avi - Israel
based» is occasionally encountered with ambivalence gilboaa@mail.biu.ac.il
by clinical professionals. A common concern is that the
daily challenges of music therapy are often not adequa-
tely represented by research results due to constric- Abstract
tions caused by specifications of study designs. On the
The Music therapy Analyzing Partitura (MAP) is a graphi-
other hand, research evidence may be hard to imple-
cal method for describing and analyzing music therapy
ment into the workday life of music therapy due to prac-
sessions. This method is based on the translation of the
tical restrictions in working conditions.
complex auditory material that evolves from music the-
A survey among music therapists working in psychiatric rapy sessions to a visual format using a graphic code.
care in Austria shows that benefits of music therapy as With this code, music therapists can describe their se-
seen by patients, music therapists, or referring doctors ssions and can subsequently communicate the informa-
may differ considerably from effects of music therapy tion with colleagues and/or analyze its contents.
as examined by researchers.
The principles of the MAP were previously reported in
Evidence-based practice may be defined as the inte- journal articles (Gilboa, 2007; Gilboa & Bensimon, 2007)
gration of the best available research with clinical ex- and presented in scientific conferences such as the 7th
pertise in the context of patient characteristics. In the EMTC. In this paper I will report of the results of two ex-
everyday quest to find out what works for whom, ways periments in which the MAP was tested. In the first (quan-
to utilise research results for our specific work field need titative) study, 26 music therapists were given a limited
to be determined. amount of time to read through a music therapy session
using a MAP or a regular verbal description. It was found
The purpose of this paper is to explore possibilities of
that the MAP was easier to comprehend and that more
framing this «transcultural» relationship between rese-
information was acquired when using it. In a second
arch and clinical practice.
(qualitative) study, five music therapists were first asked
to MAP two clinical sessions which they conducted at
62 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress

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

Keywords: Fairy Tale, Institutionalisation, Learning


HANSEL AND GRETEL: RELEVANcE Disability, UK Social Policy, Abandonment.
AND MEANING IN ONE cLIENT’S
Lisa Margetts. Qualifying in 1993, Lisa has chosen to
THERAPEuTIc JOuRNEY
specialize in music therapy with learning disabled
Margetts, Lisa - uK adults. She has been Head Music Therapist for Nor-
L.Margetts@roehampton.ac.uk wood since founding the music therapy department in
2000, and is Senior Lecturer at Roehampton University.
L.Margetts@roehampton.ac.uk
Abstract
«The fairy tale is therapeutic because the patient finds
his own solutions, through contemplating what the story WORKING WITH TEENAGERS AFTER
seems to imply about himand his inner conflicts at this
BLAcK SATuRDAY BuSHFIRES:
moment in his life» (Bettleheim 1975).
A cOMMuNITY MuSIc
«Do you know Hansel and Gretel?» Following five and THERAPY PROJEcT
a half years of therapy with an older learning disabled
client, during which a myriad of current affairs stories McFerran, Katrina - Australia
had served as self-chosen vehicles for processing often k.mcferran@unimelb.edu.au
overwhelming anxiety, this reference to a fairy tale came
as a genuine surprise. My curiosity aroused as to where
this might lead, I purchased the illustrated Ladybird Abstract
Book of the fairy tale (Cameron 2008) in time for our
The Black Saturday Bushfires resulted in the highest
next session. My client again asked me if I knew the
loss of life ever recorded in Australian history as the re-
story, and I showed him the book. In the following
sult of a natural disaster. The music therapy project des-
weeks of music therapy, this client chose to set aside
cribed in this paper was the first of its kind in our country
time in which we thought about the fairy tale through
and for this reason the music therapists proceeded with
his interpretation of the beautiful illustrations, and his
caution, being conscious of the need for a more original
own understanding and interpretation of the tale. This
approach that responded to the unique needs in the
typically led to an often in depth verbal, and then musi-
situation and focused on rebuilding a sustainable capa-
cal consideration of the emotional experiences of the
city within the school where the project took place.
characters in his chosen pictures.
A community music therapy approach was adopted for
This paper will highlight images from the tale of «Hansel
this project because of the focus on community build-
and Gretel» with which this client most readily identified,
ing (Pavlicevic & Ansdell, 2004; Stige, 2002). Rather
together with accompanying improvisations from the
than identifying goals and objectives in advance of the
sessions. With reference to the literature, this rich ma-
project, the two music therapists concentrated their
terial will be further considered in the light of the preva-
preparation on developing their understandings of the
lent theme of this client’s therapeutic process; the
ecological systems that framed the project, as well as
emotional effects of institutionalisation from childhood.
the ways that music therapy has been used previously
(Braginsky and Braginsky 1971, Blackburn 1992).
in response to trauma (Sutton, 2002; Loewy & Frisch,
Finally, the impact of current social policy in the UK 2007). Different group processes emerged for each of
(DOH 2009) upon people for whom such challenges the three different groups of teenagers involved. Song
may run counter to deeply entrenched defence mecha - singing, song writing and group improvisations were
nisms arising from much earlier experiences of institu- the most common methods adopted, although they
tional care, and the subsequent challenge for music were used differently in each situation. Some drawing
therapists will be considered and photographic cards were also utilized.
References Evaluation interviews indicated that the young people
Bettleheim B (1975). The Uses of Enchantment: The Meaning appreciated the balance between happiness / fun with
and Importance of Fairy Tales. Harmondsworth: Penguin Books. an awareness of their shared trauma. Many teenagers
66 | ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress

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

Keywords: Adrenoleukodystrophy(ALD), Episode-De-


THINKING ON A cASE STuDY OF THE scription-Method, manifestation, impossibility of under-
BOY WITH ADRENOLEuKODYSTROPHY standing, an art of living.

Miyake, Hiroko - Japan Hiroko Miyake. Received Master´s degree in Kobe


University focus on community music therapy. Currently
hiro-muf@bj9.so-net.ne.jp
conducting doctoral research on political issue of music
making process. Works as a music therapist with De-
velopmental Disorders. hiro-muf@bj9.so-net.ne.jp
Abstract
In the case study research of music therapy, the pro-
cess of music therapy tends to be described as a linear
progression which develops from past to future or DRuMPOWER – A MuSIc THERAPY
cause to effect. However, there supposes to be the
PROGRAM ADDRESSING VIOLENcE
cases which are not always appropriate to describe
PREVENTION AND SOcIAL INTEGRA-
with such a linear model, e.g. in the cases such as pro-
gressive or fatal diseases. The author aims to discuss TION IN ScHOOLS
on the search of the alternative way of description of Nöcker-Ribaupierre, Monika - Germany
improvisational music therapy process with such situa -
mnoeckrib@aol.com
tion, through the trial of the case study with 12-year old
boy who has Adrenoleukodystrophy (ALD). Wölfl, Andreas - Germany
awoelfl@freies-musikzentrum.de
The author uses Episode-Description Method developed
by Takashi Kujiraoka with the author’s own application,
which the author believes to be more appropriate Abstract
method to describe musical event with reality in the case
above. As a result of the examination of this brief case The basic clinical aim of this program is to support chil-
study, three viewpoints, manifestation, impossibility of dren and young adolescents, using mainly rhythmic in-
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 67

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.

Rebecca O’connor has been a music therapist for 20 References


years. She has extensive experience in working with Carter, E. and Oldfield, A. (2002). A Music Therapy Group to
children and has been instrumental in setting up music assist Clinical Diagnoses in Child and Family Psychiatry. In A.
therapy services in a variety of settings. She was course Davies. and E. Richards (Eds) Group Work in Music Therapy.
tutor at Roehmpton University, London and has been a London: Jessica Kingsley Publications.
guest lecturer on a number of music therapy courses. Drost, J. (2006). The bubblegum Guy: How to Deal with how
Rebecca was lead music therapist at Chelsea and you Feel, Sage Publications.
Westminster Hospital in London, she is currently work- Oldfield, A. (2006). Interactive Music Therapy in Child and Fa-
ing at the National Rehabilitation Hospital, Dublin. mily Psychiatry: Clinical Practice, Research and Teaching. Lon-
oconnor@panoram.co.uk don: Jessica Kingsley Publishers.
Spence, S. (2003). Social skills training with Children and
Young People: Theory, Evidence and Practice. Child and Ado-
lescent Mental Health 8, 2, 84-96

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.

References Furedi, Frank (2004). Therapy Culture. Cultivating Vulnerability


in an Uncertain Age. London: Routledge.
Stern, D. (1985). The interpersonal World of the infant. New
York: Basic Books. Hubble, Mark, A. & Miller, Scott D. (2004). The Client: Psy-
chotherapy’s Missing Link for promoting Positive Psychology.
Postacchini, Ricciotti, Borghesi (1997). Lineamenti di musico-
In Linley & Joseph: Positive Psychology in Practice. (pp. 335-
terapia., Nis, Roma.
353). Hoboken, New Jersey: John Wiley & Sons.
Scardovelli, M. (1999). Musica e trasformazione. Roma: Borla.
Wampold, Bruce E. (2001). The Great Psychotherapy Debate.
Magee B., Milligan M., (1997). Sulla Cecità, Roma, Astrolabio. Mahwah, New Jersey: Lawrence Erlbaum Associates Publishers.
Keywords: Visually impaired people, artistic perform- Keywords: Resource-oriented, contextual, mental health.
ance, mirror neurons, cerebropathy, neuro-sensory-
motor deficit. Randi Rolvsjord work as associate professor in Music
Therapy at The Grieg Academy University of Bergen.
Renato Pantaleo, pianist, music therapist and music Her practice as music therapist has been in mental
pedagogist. Currently responsible for the music therapy health care. randi.rovlsjord@grieg.uib.no
program at the Institute for the blind «Florio Salomone»
of Palermo and head of the music therapy services of
the Children’s Neuropsychiatric Unit in the Hospital of
Pantelleria. renato.pantaleo@libero.it MuSIc THERAPY WITH MENTALLY ILL
WOMEN AND THEIR cHILDREN IN
ADuLT PSYcHIATRY
cLIENT’S «cRAFT» IN MuSIc THERAPY
Rentmeister, ute - Germany
Rolvsjord, Randi - Norway ute.rentmeister@iak-kmo.de
randi.rovlsjord@grieg.uib.no

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

Richards, Eleanor - uK Keywords: Psychotherapy, counselling, words, train-


eleanor.richards@anglia.ac.uk ing, music therapy.
Loth, Helen - uK Eleanor Richards: Senior Lecturer in Music Therapy, An-
helenloth@anglia.ac.uk glia Ruskin University, Cambridge; music therapist
working with adults with learning disabilities / mental ill-
ness in the NHS; psychotherapist and supervisor in pri-
Abstract vate practice. eleanor.richards@anglia.ac.uk
In 2007 the authors conducted a piece of research into the Helen Loth is a Senior Lecturer in Music Therapy and
motivations and experience of music therapists who had a counsellor in primary care. Her music therapy expe-
elected to undertake subsequent trainings in verbally rience includes mental health, eating disorders and
based therapies such as psychotherapy, counselling or learning disabled children and families.
psychoanalysis (Loth & Richards 2007). Taking those find- helenloth@anglia.ac.uk
ings as a starting point, the authors will examine one of the
emerging issues in further depth: How is the work of a psy-
chotherapist or counsellor first trained in music therapy in- THE PART MuSIc PLAYS IN PSYcHO-
formed by this clinical background? The responses to this
THERAPEuTIcALLY BASED MuSIc
question will be presented and discussed in more detail.
THERAPY WITH cHILDREN
The authors will incorporate an additional perspecti -
ve –that of their own experience and practice as music Schwaiger-Ludescher, Gabriele - Austria
therapists who have also undertaken verbally based schwaiger.ludescher@gmx.at
trainings– and will consider how the initial bringing to-
gether of musical and therapeutic sensibilities may con-
tribute to clinicians’ subsequent work in a primarily Abstract
verbal milieu.
The psychotherapeutically based music therapy of the
There is much in current psychoanalytic and develop- Viennese School focuses on cultivating the relationship
mentally informed clinical writing (Knoblauch 2000, between child and therapist. This is not an individual re-
Stern 1985) that draws directly upon musical meta - lationship within the therapeutic communication to facili-
phors; broader thinking about the aesthetic dimension tate understanding the emotional, intellectual and active
of psychoanalytic practice is turning in particular to impetus determining the psychological and social deve-
questions about music (Rose 2000, Stein 1999). In this lopment of the child nor is it to attain an externally defined
paper the authors will seek to draw some important dis- end. It is the basis of therapeutic work in which the
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 71

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

http://www.voices.no/mainissues/mi40003000128.html basic for planning effective program of rehabilitation to


(accessed 13/01/08) promote wellness, improve physical and emotional
well-being, to improve a quality of life.
Meeks, J. (1971). The Fragile Alliance: An Orientation
to the Outpatient Psychotherapy of the Adolescent, Bal- References
timore: The Williams and Wilkins Company. Aldridge, D. (1994). An overview of music therapy research.
Complementary Therapies in Medicine, 204-216.
Robarts, J. (2000). ‘Music therapy and adolescents
with Anorexia Nervosa’. Nordic Journal of Music Ther- Aldridge, D. (1987). Families, Cancer and Dying. Family Prac-
apy, Volume 9, No. 1, pp. 3-12. tice, 4, 212-218.
Frank , J. (1985). The effect of music therapy and guided visual
Keywords: Adolescence, identity, school refusal, music imagery on chemotherapy induced nausea and vomiting. On-
therapy in education. cology Nursing Forum, 12 (5), 47-52.
Amy Shipley is a music therapist who divides her time Keywords: music therapy - cancer - cancer care.
between work at a children’s hospice near Cambridge
and working in schools across Cambridgeshire. Malgorzata Monika Stanczyk, MA (Musicology), PhD
amy.e.shipley@googlemail.com (Music Therapy). Music Therapist at The Great Poland
Cancer Center in Poznan, Lecturer in Music Therapy at
the University of Medical Sciences in Poznan, Poland.
ECEPT CEO, PC Resource & Training Center Coordi-
nator. Fields of interest: music therapy, art therapy, psy-
MuSIc THERAPY AND cANcER cARE chology of music, palliative care, end of life care.
Stanczyk, Monika Malgorzata - Poland mmstanczyk@am.poznan.pl
mmstanczyk@am.poznan.pl

«THE uNATTENDED MOMENT» –


Abstract
SILENT AND MuSIcAL SPAcES WITH
The purpose of this presentation is to describe the DISTuRBED ADuLT PATIENTS
music therapy program at the Great Poland Cancer
Center in Poznan, (Poland) and to present different mu- Sutton, Julie - Ireland
sic therapy interventions that are used with cancer pa- emtcjulie@tiscali.co.uk
tients.
A cancer diagnosis is one of the most feared and seri- Abstract
ous of life events that produces stress on individuals
and families. Cancer disrupts social, physical and emo- When patients improvise one can hear their inner world
tional well-being and results in a range of emotions, in- emerging into the outer world. Thus through detailed
cluding anger, fear, sadness, guilt, embarrassment and musical listening, the complexity of the patient’s inner
shame. Themes commonly experienced by cancer pa- world is revealed, in and through time, during and bet-
tients are fear of death and disease recurrence, prob- ween sessions. In the musical space between patient
lems related to long and short-term effects of treatment, and therapist the impact of others in the patient’s world
changes in personal relationships and economic issues is also revealed. Yet the spaces in which music exists
(Daste & Rose 2005) are impossible to put into words. The poets have come
closest to this act of translation, as T. S. Eliot did when
The Great Poland Cancer Centre is the only cancer cen- he suggested a kind of music inside and between pe-
tre in the region of Great Poland that uses full combined ople in his phrase, “the unattended moment, the mo-
cancer treatment: surgery, radiotherapy and chemothe- ment in and out of time”. But how do we music
rapy. Music therapy as a part of the complementary therapists describe ‘the unattended moment’? Can we
medicine program in supportive cancer care can ac- ever answer this question?
company medical treatment. There are many benefits
of music therapy for cancer patients-interactive music This paper explores these ideas through work with dis-
therapy techniques (instrumental improvisation, sing- turbed patients attending an adult psychiatry out-pa-
ing) as well as receptive music therapy techniques tient department. There is a focus on the musical
(recorded or live music listening, music and imaginary) presentation of traumatic material viewed in different
can be used to improve mood, decreasing stress, pain, contexts, with reference to concepts such as sensorial
anxiety level and enhance relaxation. The goals of the play (De Backer), the intersubjective analytic third
music therapy program are determined based on the (Ogden), and different forms of silences (Sutton). Thin-
patient’s needs as well as therapist observation. king about and exploring where music therapy and
psychoanalytic theory meet provides another space
Music therapy is an effective form in supporting cancer from which to reflect on our work, with recognition of
patients during the treatment process. It may be also music’s capacity to allow potential space (Winnicott) to
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 73

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

THE INTRINSIc IMMEDIAcY OF THE


HuMAN VOIcE IN MuSIc THERAPY VOIcE & PSYcHOSIS: A PSYcHOANA-
LYTIcAL APPROAcH WITHIN MuSIc
Van uytvanck, Mieke - Belgium
THERAPY
mieke_vu@hotmail.com
Varewyck, Daisy - Belgium
d_varewyck@skynet.be
Abstract
Based on my music-therapeutic clinical experience, the Abstract
intrinsic immediacy of the human voice, both singing
The voice is generally seen as the carrier of language.
and speaking, will be explored.
But what makes her this fascinating, is so much more
The individual specific timbre of a voice, or musical na- than language alone. Within speech, dynamic, rhythmic
ture of a voice, is what is meant when referring to the and timbre elements play their important role, both con-
intrinsic immediacy of the human voice. It is that quality sciously and unconsciously. We can state that the form
of the voice that withdraws itself from any actual mean- of the voice is situated at a musical level. Moreover the
ScIENTIFIc PROGRAMME | PAPERS | cLINIcAL PRAcTIcE & SuPERVISION | VIII European Music Therapy Congress | 75

voice – and this is what makes it so specific - repre-


sents the verbal and preverbal nature. In this way the
THE cONTRIBuTION OF SuPERVISION
voice presents itself as an expression of emotions, even TO STRucTuRE BuILDING IN
before it subscribes itself at the service of language. SELEcTED FIELDS OF MuSIc THERAPY
The first interaction between mother and infant is of a Wolfram, Ilse - Germany
vocal nature. Already from its early existence the infant
ilse.wolfram@t-online.de
will vocally appeal (scream) to the mother. The mother
will tune into this appeal. The infant is invoked by the
mother’s musical voice (maternal sonata) with its sym- Abstract
bolic dimension. By appropriating the language the in-
fant leaves the vocal stage behind. This means Supervision and music therapy go together very well.
accepting the loss of the pure voice beyond meaning, Supervision is an important part of the curricula and the
accepting the prohibition to keep the symbiotic bond ensuing professional practice as music therapist. In the
with the mother and experiencing intersubjectivity. first part, the author describes that quite often music the-
rapists even complete an extra training in supervision
In case of psychosis words are without significance and
after some years of practical work, for they apparently
the words are experienced as pure sound objects. Psy-
feel the need of adding a new quality to their professio-
chotic patients often use their voice in music therapy to
nal efficacity. The author reflects the improvement in su-
reflect their outward actions. The voice takes a rather un-
pervisory processes through undergoing a compact
controllable shape (~scream of the baby) and can be
supervision training, and focuses on the importance of
situated at the level of trauma (the Real). When psychotic
patients use their voice in music improvisations the “Lehrsupervision” (“by a senior supervisor”) as a means
‘jouissance’ (Lacan), with its libidinous origin, is promi- to form the supervisory identity. The second part centers
nently present. It is the task of the music therapist to con- on structures and structurebuilding theories on the
tain this music, to resonate with the patients’ experience ground of Integrative Therapy (Petzold), and analogies
and to represent the symbolic order. The author will clar- to musical structures. In the third part, the authour des-
ify her theoretical approach with different case examples cribes by using examples how structurebuildung deve-
and listening fragments where the patient’s voice as well lops from individual contracts in client-therapist settings
as the therapist’s voice will be analysed. to fundamental structures in music therapist organisa-
tions. Supervision therefore has political relevance.
References
Billiet, L. (2008). De woorden zijn alleen maar dood in woor- References
denboeken. sKRIPtA, bulletin van de Kring voor Psychoanalyse Holloway, Elisabeth L. (1995). Clinical Supervision. A systems
van de New Lacanian School approach. Sage.
De Backer, J. (2004). Music and psychosis. The transition from Lansen, J. & Haans, T. (2004). Clinical supervison for Trauma
sensorial play to musical form by psychotic patients in a music Therapists. In: Broken spirits. New York, Brunner Routledge
therapy process. Unpublished Doctoral dissertation, Aalborg
University, Denmark. Hegi, Fritz (1996). Komponenten der Musik. In: Lexikon der
Musiktherapie. Hogrefe
Poizat, M (1986). L’opéra ou le cri de l’ange: Essai sur la jouis-
sance de l’amateur de l’opéra. Paris: A.A.Métalié. Petzold, Hilarion G. (1993). Integrative Therapie: Modelle,
Schokker, J., Schokker, T. (2000). Extimiteit, Jacques Lacans Theorien und Methoden für eine schulenübergreifende Psycho-
terugkeer naar Freud. Amsterdam: Uitgeverij Boom. therapie. Junfermann
Vives, J.M. (2002). Pour introduire la question de la pulsion in- Keywords: Supervisory Identity, structure-building, pro-
vocante. In : Vives, J.M. (red.), Les enjeux de la voix en psy-
fessional settings, professional organisations
chanalyse dans et hors la cure. Grenoble: Presses
Universitaires De Grenoble, p. 5-20. Ilse Wolfram studies of social work and psychology.
Keywords: voice, psychosis, jouissance, resonance, Supervisor. Psychotherapeutic/music therapist training
symbolization. at Fritz Perls Institute with Prof. Dr. Isabelle Frohne-
Hagemann and Prof. Dr. Hilarion Petzold. Actual focus:
Daisy Varewyck qualified as a music therapist at the music therapy with traumatised refugees.
Lemmensinstituut (Belgium). She is a member of the ilse.wolfram@t-online.de
board of the BMT. Since 2009 she is pursuing her post-
graduate for psychoanalysis. d_varewyck@skynet.be
daisy.varewyck@fracarita.org
76 | ScientiFic PrograMM | PaPerS | training & accreditation | VIII European Music Therapy Congress

3.2.3.3. training & accreditation

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 Theoretical ideas will be discussed and exemplified


presenting results from Qualitative Case Studies from
Coleman, C.H., Menikoff, J.A., Goldner, J.A., Dubler, N.N.
(2005). The ethics and regulation of research with human sub- the Music Therapy Training Program of the UCA-IPP.
jects. Newark, NJ: LexisNexis. The role of Didactic Music Therapy for this learning
process and Supervision are discussed.
ScientiFic PrograMM | PaPerS | training & accreditation | VIII European Music Therapy Congress | 77

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

Stige, B. (2002). Culture-Centered Music Therapy (pp. xiii-xviii).


inFLUenceS oF MUSic tHeraPiStS’ Gilsum, NH: Barcelona Publishers.
WorLdVieWS on WorK in diFFerent
Keywords: culture, beliefs, worldview, education
coUntrieS
Barbara Wheeler is Professor and Director of Music
Wheeler, Barbara L. Therapy at the University of Louisville in Kentucky. She
Barbara.wheeler@louisville.edu edited Music Therapy Research, 2nd Edition, and coau-
Baker, Felicity - USa - australia thored Clinical Training Guide for the Student Music
f.baker1@uq.edu.au Therapist. Barbara.wheeler@louisville.edu
Felicity Baker is Senior Lecturer and Director of Re-
search at The University of Queensland. She edits the
abstract Australian Journal of Music Therapy and has published
This collaborative research project focused on the widely. f.baker1@uq.edu.au
worldviews that music therapists hold and how these
influence the practice and teaching of music therapy.
The research question was: What are the worldviews
that determine how music therapists in different coun- neW WaYS in Ma-PrograMS
tries work? Culture, for this project, was defined as «the
Wosch, thomas - germany
behaviors and beliefs characteristic of a particular so-
cial, ethnic, or age group» (Dictionary.com, n.d.). thomas.wosch@fhws.de

Twelve music therapy educators from various cultures


were interviewed using e-mail to explore their world- abstract
views, or way of constructing meaning in the world.
In many countries and universities MA is the first music
They were initially invited to participate in a study in
therapy degree, students can study. This means, their
which the focus would be on people´s beliefs and as-
first music therapy knowledge and competencies they
sumptions that are part of their culture but of which they
can get here. This also means that the outcomes of
may not be aware. Participants were music therapist cli-
these programs are mainly general competencies and
nicians and educators, most of whom had worked and
application of music therapy in many fields of clinical
taught in at least two different countries.
practice of music therapy. However, the knowledge of
The responses were analyzed using grounded theory music therapy and its methods and approaches is
methods. Data analysis aimed to determine the nature growing and growing. Due to this in Germany i.e. are
of the beliefs that people have and to categorize them now developed different MAs, which are specialized in
in ways that would aid in understanding them and their single fields of clinical practice of music therapy. This
influence upon music therapy practice. Responses new trend makes it possible, to go on from the very less
were found in the following categories: a) Influence of worldwide BA-programs in music therapy into a special
culture on clinical practice; b) Influence of culture on field of clinical practice or research of music therapy or
teaching; c) Influence of culture on perception and even to study two MAs, one in a general level and one
thinking about the therapeutic process; d) Influence of in a specialized field of application of music therapy.
culture in informing world views; e) Influence of culture
The paper will discuss this new trend and will give ex-
on both clinical practice and teaching.
amples of the structures of such MA-program, which
Information on what was included in each of these cat- enrich the educational landscape of music therapy and
egories will be presented, including examples from var- follows needs of the clinical practice and research in
ious participants and cultures. Implications for practice music therapy.
and teaching will be discussed.
references
references Wosch, T. (2009). Musiktherapie studieren. Die deutsche Hoch-
Bruscia, K. E. (2002). Preface. In B. Stige, Culture-Centered schullandschaft 2004 bis 2008. In: Musik und Gesundsein, 16,
Music Therapy (pp. xiii-xviii). Gilsum, NH: Barcelona Publishers. 22-24.
Corbin, J., & Strauss, A. (2008). Basics of qualitative research
Keywords: Music Therapy Training - MA - Clinical Prac-
3e: Techniques and procedures for developing grounded the-
tice - Specialization
ory. Thousand Oaks, California: Sage.
Ivey, A. E., D’Andrea, M., Ivey, M. B., & Simek-Morgan, L. thomas Wosch, Prof. Dr. 10 years of clinical practice
(2002). Theories of Counseling and Psychotherapy: A Multi- in psychiatry, 9 years at University of applied sciences
cultural Perspective. Boston: Allyn & Bacon. of Magdeburg, since 2007 at University of applied scie-
Kenny, C., & Stige, C. (2002). Preface. In C. Kenny & B. Stige nces in Wuerzburg, international research, editor and
(Eds.), Contemporary Voices in Music Therapy: Communication, teaching. thomas.wosch@fhws.de
Culture, and Community (pp. 1-3). Oslo, Norway: Unipub Forlag.
3.2.4. workshops
sCIENTIFIC proGrAMME | workshops | VIII European Music Therapy Congress | 81

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.

keywords: Rhythm-Chaos, personal-interpersonal, co-


Bar-Even, roey - Israel
therapy, post traumatic, adolescents.
rbareven@gmail.com
roey Bar-even. Lives in Jaffa Tel Aviv. A musician,
pridor, shay - Israel
drummer, who took part in different «Batucada» per-
prizugi@gmail.com forming groups in NYC. Graduated at City College of
New-York with a BFA in music and Sonic arts (2001).
rbareven@gmail.com
Abstract
shay pridor. Lives in Tel Aviv. A musician, graduated
Batucada is a substyle of samba and refers to an
the multidisciplinary program in the Art at TAU (2001).
African influenced Brazilian percussive style. It is con-
Worked as a manager of social-education projects for
sidered by some to be the epitome of the percussive
youth at risk (2004). prizugi@gmail.com
ensemble. Batucada is characterized by its repetitive
style and fast pace. It involves a large variety of percu- Both music and movement therapists, graduated at
ssion instruments, such as drums, bells, shakers and «Lewinski» college (2005). Work since graduation at
more. The term «Dynamic Batucada» was originated by «Neve Tze’elim» - a residential treatment center for ado-
us, in order to distinguish the difference from the tradi- lescents with psychological problems and PTSD. Mem-
tional Brazilian Batucada: the therapeutic aspect crea- bers of the «Dreamers», a musical group which creates
tes a more flexible and dynamic approach towards music for children with a therapeutic attitude.
musical instructions and use of a variety of instruments.
This workshop is based on a once a week meetings with
a group of adolescents. We use different percussion in-
struments, in a large variety of sounds, size, techniques ThE BoDY´s MUsIC: oUr VoICE,
and approaches. The workshop uses rhythm in order to MAIN MUsICAL IINsTrUMENT
achieve several goals, personal and interpersonal such
as: motor and psychomotor skills, outlet, balancing bet-
Carrara Lelis, Cláudia M. - Brasil
ween rules and freedom, sublimation, increasing self clelis@terra.com.br
confidence and sense of belonging, practicing non ver-
bal communication and more. Abstract
The relatively simple structure of the drums and percus- In the prehistory of the human evolution, the primitive
sion being used makes it more available and less threate- people created the first musical instruments, among
ning for those who are not trained musicians (Sekeles C: other reasons, for the need to communicate among
1994). The main motives in the workshop are: the Chaos themselves and to send long distance information.
phase (Briggs J & peat D: 1999) freedom vs. rules, call They also tried to imitate the sounds of nature, the
& response, the importance of playing games (Winnicott human body and its voices.
D: 1971), solo vs. accompaniment, etc. We will also in-
troduce the tasks and meanings of the co-therapy: «the There is a symbolism for the musical instruments that
Guiding Signal» and «the «Grounding Keeper». lasts until these days. The playing of musical instru-
ments generates sensory-vegetative reactions, inclu-
«Neve Ze’elim» is residential treatment center for emo- ding visual, auditory and tactile associations, and plays
tionally disturbed children and adolescents who have a part in the establishment of sound-social links.
not bee able to fit into the regular system. The interac-
tions of all the staff members and the children, take Every person has individual musical qualities (potential
place in different parts of the day, in different activities, for the creative development), that can be found in the
therefore, we meet the batucada group members, not «true-self» (inside themselves): «The music came to us
only in the group meetings. This enables us to follow through the human evolution, through all the great com-
and witness changes in the personal and inter-personal posers who involved themselves in the explorations of the
behavior. During the last 3 years in which the Batucada form, melody, harmony, rhythm and expression, important
is active, we have witnessed some positive changes in qualities for the inherent and or music that come from all
members of the group. We will mention some examples the peoples of the World» (Robbins&Robbins, 1991).
in this workshop. The human voice is our most primitive, intimate expre-
ssion, and principal musical instrument. Every new
baby «discovers the world» through the mother’s voice.
82 | sCIENTIFIC proGrAMME | workshops | VIII European Music Therapy Congress

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.

musicoterapiadivi@gmail.com An effective musical didactics in music therapy training


has to take into account not only cultural stereotypes
linked to a certain kind of production and reproduction
Abstract bound to the ability of making music, but the different
Music therapy can be extremely helpful with young peo- possibilities offered by being and making music in the
ple living in social conflict or in situations of lack of sup- way more congenial to the subject.
port. The present contribution shows how the life quality Therefore this is a training proposal too, which promotes
and the cooperation atmosphere of the young people and stimulates spontaneous abilities thanks to different
living in youth centres can be improved through music objects and instruments and free improvisations aimed
therapy. It creates a communication situation which be- at picking out possible rhythmic, melodical, vocal routes
comes both creative and reflexive and, therefore, it pro- able to make one’s own «being musical» acknowledged.
vides excellent strategies to enhance emotional control Moreover, this proposal wants to be an opportunity to
and the appropriate treatment of thinking and actions. think about the simbolic value of the sonorities and how
that will come out in our work with patients through the
Approach to the concept of music therapy and its appli-
most archaic forms of sound communicativity.
cation in youth centres through judicial means and also
sCIENTIFIC proGrAMME | workshops | VIII European Music Therapy Congress | 83

references accent on the anticipating inner sound or silence, post


Delalande, F. (1986). Le condotte musicali. Bologna: Clueb. resonance, and the listening attitude of the therapist.
Bruscia, K. E.(2001). Modelli di  improvvisazione in musicote- references
rapia. Roma: Ismez.
Bion, W.R. (1967). Second Thoughts. Selected Papers on Psy-
La Face Bianconi G., Frabboni F. (ed) (2008). Educazione Mu- cho-Analysis. London: Maresfield Library.
sicale e Formazione. Milano: Franco Angeli.
De Backer, J. (2008). A research report detailing the transition
keywords: Creativity, Self-Experience, Training, Didac- from sensorial play to musical form by psychotic patients. In:
tic Strategies. Nordic Journal of Music Therapy, 17 (2) 2008, pp. 89-104

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

“ThE whEEL oF rhYThMs” - A TECh-


NIqUE IN MUsICAL IMproVIsATIoN

Madureira keller, Irene - Germany


irene.keller@t-online.de

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

susanne Metzner, prof. Dr. sc.mus. Coordinator of


UNDECLArED: shAME IN MUsIC the musical training program at Magdeburg in Ger-
ThErApY many. She is a music therapist with a psychoanalytical
approach and a psychotherapist for children and ado-
Metzner, susanne - Germany lescents. She has been working with various popula-
susanne.Metzner@hs-magdeburg.de tions, especially with adult patients in psychiatry. She
has been Professor since 1991 and did her research
on triadic processes and recently on music therapeutic
Abstract
pain management in a combination with aesthetic theo-
In the western world, shame is considered something ry. susanne.Metzner@hs-magdeburg.de
rather old-fashioned, out-dated, a negative legacy of
Christianity, which needs to be overcome. This is readily
observable in many spheres of social life: in today’s
fashions, the media, in the usage of language, and in INTEGrATED MUsIC IN DEMENTIA CArE
altered forms of interaction between parents and chil- – A METhoD For NUrsING hoMEs
dren, men and women. In accordance with the opinion
Myskja, Audun - Norway
of the general public, some scientific disciplines see
things in a similar way. For example, in psychology info@livshjelp.no
shame is sometimes treated as a pathological phe-
nomenon. In therapy theory shame is very rarely dis- Abstract
cussed in any length and is marginalized in comparison
Integrated music –a method tailored to the health ser-
to other emotions. However, at the same time, shame
vices. Integrated music utilizes a synthesis of the pri-
is often one of the most common reasons for leaving a
mary elements: a) music therapy by trained music
group session or for staying away from a group, either
therapists, b) individualized music preformed by staff
on a single occasion or permanently.
and c) the supportive elements: staff and family singing
Some anthropologists and psychologists suggest a within a clinical framework; volunteer work with prerecor-
positive view of shame, and this is the position I en- ded music based on preference evaluation; choirs for
dorse and that I want to work on in the workshop: staff and patients; concerts by invited performers.
Shame – in moderation – is the guardian of the self and
The method has been developed along the lines of ac-
of the self-boundary; it is a feeling, without which there
tion research, can be simple, cost effective, and intro-
can be no personal development and no successful
duce new clinical tools in challenging situations like
psychotherapy, no identity, and no healthy striving to
behavioural psychological symptoms of dementia.
become an autonomous being.
Several institutions that have utilized the method have
In my workshop I am guided by two questions, first: In had a significant reduction of sick leave among staff,
which way does the use of music in therapy have an ef- and recent studies indicate that integrated music can
fect on the experiencing of shame by patients and be effective both in enhancing self worth and wellbeing,
therapists? And second: Which chances exist and and be effective to reduce depression, agitation and
which dangers are involved? Participants will be invited sleep disturbances.
to reflect on their own experiences with shame in music
The presentation will give an overview of the method In-
therapy on patient’s as well as on therapist’s side.
tegrated music, including Research background &
Some case material will be presented apart from theo-
Clinical development. Results from studies on Inte-
retical approaches to shame and shamefacedness,
grated music as an intervention to reduce agitation Im-
which has to be distinguished.
plications of the method for nursing home medicine.
references
The presentation will include musical examples, music
Hilgers, Micha (1996). Scham. Gesichter eines Affekts, Göt-
excerpts and video clips to illustrate the practical appli-
tingen.
cation of the method.
Palmowski, Bernhard (1992). Zur Bedeutung von Scham und
Selbsterleben für Indikation und Verlauf in der analytischen Grup- references
penpsychotherapie. In: Forum der Psychoanalyse 8: 134-146. Myskja, A. (2009). Music in nursing homes. Bergen: Red Cross
Dignity Centre.
Seidler, Günter H. (1995). Der Blick des Anderen. Eine Analyse
der Scham, Stuttgart. Myskja, A. (2006) Individualisert musikk og Musikk i siste livs-
fase - to prosjekter i eldreomsorgen. In: Aagaard T (red.).
Wurmser, Léon (1993). Die Maske der Scham. Die Psychoa- Musikk og helse. Oslo: Cappelen akademisk.
nalyse von Schamaffekten und Schamkonflikten. 2. Aufl., Ber-
Myskja, A. (2007) Nursing home residents on a Procrustes
lin (vergriffen). bed: Reflections on a Cochrane review. Theory of science-
keywords: shame – shamefacedness – anthropologi- paper for PhD-degree, Humanistic faculty. Bergen: Universitety
of Bergen.
cal approach – group music therapy.
Myskja, A. (2006). To prosjekter. I T. Aasgaard (Red.), Musikk
og helse. Oslo: Cappelen forlag.
86 | sCIENTIFIC proGrAMME | workshops | VIII European Music Therapy Congress

Myskja, A. (2005). Musikk som terapeutisk hjelpemiddel i syke-


hjemsmedisin. (Music as adjunctive therapy in nursing homes; hEALING rAGAs – ThE GIFT oF
Journal of the Norwegian Medical Association) Tidsskr Nor
Lægeforen, 120, 1186-90.
INDIAN CLAssICAL MUsIC

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

LIsTEN – CAN YoU hEAr ME? – sINGING: A pErsoNAL AND


YEs, I CAN. CAN´T I? proFEssIoNAL NEED - ThE VoICE
straub, silja - Germany As prIMArY INsTrUMENT IN
siljastraub@gmx.de MUsIC ThErApY

Uligh, silka – The Netherlands


Abstract sylka.Uhlig@han.nl
Hearing is one of the most important features in music
therapy – or is it «listening»? What forms of «listening»
are there and how does it affect the listener? Which role Abstract
does the environment play? To become more aware of The voice is our primary instrument in music therapy for
the difference between «hearing» and «listening» and to expression and communication. Through singing, we
(re-)alert everybody to the importance of «listening», enter into the integrative process of expression and the
rather than «hearing» in therapy is the main goal of this
interactive process of communication. The experience
workshop. Basically through practice, but also by some
of singing can be essential for a client’s process and it
theoretical information you will be able to experience
is also fundamental for the therapist’s professional de-
yourself, so your mind (and ears) will be opened again
velopment. The therapist who sings in sessions needs
to make you pay attention to the difference and the im-
to develop awareness of the personal effect and the cli-
portance of listening again.
nical impact of the voice. The focus of this workshop
The main goal of this workshop is not to learn some- is on dialogue, communication, and the nuances of
thing new, but rather to experience quite a lot of things acoustic symbols and multicultural influences that are
(again). We all know that listening is very important - we inherent in authentic human sounds.
do it every day. But because we have gotten so used
This workshop is primarily experiential and will provide
to it, it might have gotten out of sight. So, let´s get back
opportunities to develop a deeper awareness of the
to basics and open our ears.
voice in the body as the primary instrument for commu-
We start with listening to what surrounds us. Which nication and expression and to further personal growth
noises can we hear when it is silent? We are often not in service of professional development. This is relevant
aware of the environmental noises, because we ignore for therapists as well as for clients in music therapy.
them or have come used to them. The «sound of si-
lence» is the background- music, to which we shall add references
different other sounds, starting with a single tone, via Cohen, N. S. (1994). Speech and Song: Implications for The-
single instruments and improvised music and ending rapy. Music Therapy Perspectives, 12;8-14.
with single tones or noises. We discuss what music and Shoemark, H. (2006). Infant-directed singing as a vehicle for
listening does to us and how it affects us to listen to the regulation rehearsal in the medically fragile full-term infant. Re-
same sounds in a different situation or context. We also port. Australian Journal of Music Therapy.
think about what it means to hear something that isn´t Uhlig, Sylka (2006). Authentic Voices, Authentic Singing. Bar-
there, yet and how we have to switch between hearing celona Publishers. www.TouchingVoices.com
the outside music and the inside echo.
keywords: Breathe, Tone, Rhythm, Ostinato, Vocaliza-
references tion.
Eckart O. Altenmüller (2001). The neurobiology of music per- sylka Uhlig. MA, RMTh, LCAT. Faculty member music
ception: Cortical processing of time- and pitch- structures; Dis-
therapy & voice HAN University, Netherlands. 2009
cussant paper submitted to the Günne Conference.
PhD candidate Music Therapy HAN & lecturer voice
Niels Birbaumer/ Robert F. Schmidt (1996). Biologische Psy- workshops international. 2001 Master of Arts in Music
chologie, 3rd Edition, Springer- Verlag, Berlin/ Heidelberg.
Therapy New York University, USA.1998 Private Study
Armin Husemann (2007). Der hörende Mensch und die Wirk- in Oriental Music Therapy University in Istanbul, Turkey.
lichkeit der Musik. Journal Der Merkurstab, 1. 1993 Bachelors in Music Therapy HAN. Since 1991
keywords: voice, techniques and skills, listening. music therapist in psychiatry, special education and
trained in voicework. sylka.Uhlig@han.nl
silja straub (BDH- Klinik Greifswald, Germany). Recei-
ved her diploma in creative arts/ Music therapy in Sit-
tard (NL; 2001). Works in neurological rehabilitation in
Greifswald (D) and freelance with aphasics. She stu-
died Music therapy with aphasics (M. Jungblut), kinaes-
thetics and is currently doing her MA in Magdeburg (D).
siljastraub@gmx.de
88 | sCIENTIFIC proGrAMME | workshops | VIII European Music Therapy Congress

highlight the rationale of their use in an analogical per-


soUNDING IT oUT: ThE UsE AND spective, following synthetic and intuitive modes which
AppLICATIoN oF VoCAL TEChNI- are well different from the digital module, also on the
qUEs IN MUsIC ThErApY prACTICE neurophysiological levels. Through an experience cen-
tred on the voice (meant as timbre, tone, intensity, tune)
Verney Caird, sarah - Uk
and on the body (meant as posture, gesture, spatial in-
sarahvc49@yahoo.co.uk vestment, rhythm) the work wishes to involve partici-
Nares, susan - Uk pants on two levels: a) a direct, immediate level to
enhance the voice’s and body’s expressive potential (in
terms of fluidity, width, ductility and effectiveness) by
Abstract
means of soft gymnastics techniques; b) a deeper level
The voice is a personal and essential communicative of self-exploration which, starting from the body and
tool in Music Therapy but there is seldom enough op- from the voice’s sound cavities, expands to an aware
portunity to develop its potential fully during training. perception of the flow of emotions, tensions, needs, ex-
Through our voices we can evoke a range of expressive pectations underlying any significant act, be it analogi-
qualities from tender lullabies to raging tornadoes, but cal or digital.
how do we make best use of all these possibilities in our
These levels integrate with the stimulation of two com-
clinical practice? Important questions indeed for the
plementary functions: the ability to listen and to ob-
busy practising music therapist.
serve. And shifting from listening to/observing oneself
Sarah and Susan have run workshops together for many to listening to/observing the other, attention is focused
years and they both use voice extensively in their work on the network of motor, cognitive and above all affec-
as teachers and therapists. This workshop provides an tive implications in any instance of expression. The work
opportunity to work with some of the techniques and focuses on the following aspects:
skills that they have developed during their clinical prac- – breathing and relaxation;
tice and may be of particular interest to trainees and new
– posture and contact with one’s bodily self;
practitioners although all are welcome.
– re-discovery of one’s voice timbre;
Practical techniques are offered to help increase confi- – ability to listen to oneself and to others;
dence both for therapists and clients. Simple and en- – affective value of the vocal and bodily expressive gesture.
joyable exercises for freeing the voice and using it
safely are introduced as well as exploring deeper com- The workshop aims at training people working in the
municative skills which can be used with a wide variety area of «help relationship» and wishes to foster the de-
of clients and patients. Other aspects include breath- velopment of the ability to welcome the other, to listen
ing, bodily awareness, listening and response, sound- empathically and to observe without judging all the
ing and song. Clinical application is an important deep implications of any significant act. The theoretical
feature and there will also be time for further discussion framework is mainly made up of the studies and expe-
at the end of the workshop. riences of P. Watzslawick, R. Benenzon, D. Anzieu, M.
Feldenkrais, C.Rogers.
keywords: voice, techniques and skills.
sarah Verney Caird is a music therapy trainer and su- references
pervisor specialising in voice work. She has a practice Anzieu, D. (1987). L’io-pelle. Borla, Roma.
for people with Dementia, their carers and relatives and Benenzon, R.O. (1999). Musicoterapia. Esperienze di supervi-
runs workshops on Music and Spirituality. sione. Phoenix, Roma.
sarahvc49@yahoo.co.uk Feldenkrais, M. (1949). Body and mature behaviour. Interna-
susan Nares (MAMT, FAMI, HPC) is a music therapist tional University Press, Inc., Madison, Connecticut.
working with children with special needs and people with Rogers, C.R. (1970) (1951). Client-centered therapy. Houghton
life limiting conditions. She is an experienced workshop Mifflin Co., Boston.
leader and practitioner of Guided Imagery with Music.
Watzslawick, P., Helmick Beavin, J. e Jackson, D.D. (1967).
Pragmatic of human communication. W.W.Norton & Co., Inc.,
New York.
ThE VoICE AND ThE BoDY IN keywords: Voice, body, listening, not-judging observa-
NoN-VErBAL CoMMUNICATIoN: tion.
TrAINING EXpErIENCEs For pietro Vitiello. Music Therapist, singer, professor and
opErATors supervisor in the Music Therapy training. Magister and
Vitiello, pietro - Italy supervisor of Benenzon’s Model. Music Therapist fo-
cusing on psychiatric rehabilitation and on children with
pietrovit@virgilio.it
developmental disability. Since 1988 he leads work-
shops on the perceptive and psycodynamic aspects of
Abstract the non-verbal communication, both bodily and vocally.
The voice and the body are the primary instruments of pietrovit@virgilio.it
human communication. The aim of this workshop is to
3.2.5. poster session
sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress | 91

Qouta, S., Punamäki, R., & El Sarraj, E. (2003). Prevalence and


UsinG MUsiC tHerApY to DeVeLop determinants of PTSD among Palestinian children exposed to
eMotionAL CopinG sKiLLs oF WAr- military violence. European Child & Adolescent Psychiatry, 12,
265-272.
trAUMAtiZeD pALestiniAn CHiLDren
Srour, R. W., & Srour, A. (2006). Communal and familial war-
Behrens, Gene Ann - Us related stress factors: The case of the Palestinian child. Journal
behrenga@etown.edu of Loss and Trauma, 11, 289-309.
Thabet, A. A. M., & Vostanis, P. (1999). Post-traumatic stress
reactions in children of war. Journal of Child Psychology and
Psychiatry, 40(3), 385-391.
Abstract
Keywords: trauma; emotional coping skills; research;
Various researchers report that most Palestinian children
multi-cultural.
have been traumatized in some way by the on-going con-
flicts and resulting negative outcomes prevalent since the Gene Ann Behrens. PhD, MT-BC, associate professor
Arab-Israeli War in 1948 (Arafat & Musleh, 2006); but few and director of music therapy at Elizabethtown College,
provide suggestions for developing treatment. As a result USA, is involved in research in the areas of trauma stress
of the overwhelming trauma, social service providers in and emotional coping skills. behrenga@etown.edu
Palestine acknowledge the need for people to modify
their more stoic, traditional approach to expressing emo-
tions (social service providers, May 2008). Without mod-
eling by adults, the children’s emotional skills are limited CoUnterpoint: psYCHoLoGiCAL
and insufficient to assist them in developing resiliency to tiMe AnD MeAsUreD tiMe –
cope with challenges of the on-going conflict. Music the- reseArCHinG tHe prACtiCe
rapy can potentially create a safe environment to meet oF MUsiC tHerApY
the children’s emotional needs, but to develop effective
protocol therapists traveling to work with children in an- Carrara Lelis, Cláudia M. - Brazil
other country, such as Palestine, must also understand clelis@terra.com.br
the unique characteristics of the culture and the political
and economic situation. I was fortunate to spend two
months working in Bethlehem, Palestine, as a music ther- Abstract
apist to investigate the potential for developing children’s The therapeutic use of music is as ancient as civilization.
emotional skills through music therapy. My time also allo- From primitive times, music has been associated with
wed me to observe and interact with many people and healing. Looking into music therapy history, Rudd (1990)
facilities to better understand the challenges faced by the presented an overview of the role of music regarding
children and families. health and illness. I use the third concept: aligning medi-
This presentation will include two main aspects of my cal and philosophical beliefs with the affect theory (XVII
experiences in Bethlehem. First, I will discuss the litera- century), highlighted that music intervals could expand
ture and my observations, illustrated by photography, of or contract the spirit and the body emotions, and influ-
the multi-traumatic situation, cultural traditions, and re- ence the state of the mind. Observing the relationship
sulting negative outcomes in Bethlehem that influence between psychological time and the therapeutic use of
the children and families. Second, I will discuss the eight- music in human beings over 20 years of clinical practice
component improvisational music therapy protocol em- in music therapy (psychiatry and prophylaxis), questions
ployed with the children, my observations and data drew me to research: the perception of time vary ac-
describing children’s responses, video samples of the cording to individuals/groups; the perception of time
children improvising emotions, and the outcome analy- varies in different moments, when the musical experi-
ses from my Feeling Word Assessment. Given the many ence is repeated; the sound-music living, a temporal-
significant changes found in the outcome scores, it ap- emotional experience, is therapeutic and relates to the
pears the music therapy protocol helped initiate positive quantity and quality of sensations experienced in the
changes in the children’s emotional coping skills. moment, causing changes to the individual. Time (ob-
jective and subjective) ensures continuity of events and
references our identity and is related to several everyday situations.
Arafat, C., & Musleh, T. (2006). Education and hope: A psy-
chosocial assessment of Palestinian children. In N. Boothby, Objective: What constitutes our psychological time and
A. Strang, & M. Wessells (Eds.) A world turned upside down: what is the influence of music in this process? Our prim-
Social ecological approaches to children in war zones (pp. itive roots (phylogeny), the mother-baby relationship
111-132). Bloomfield, CT: Kumarian Press. (ontogeny) from the womb, mother’s lullabies – are in
Punamäki, R., Qouta, S., & El-Sarraj, E. (2001). Resiliency fac- the root of this individual-music relationship? Procedure:
tors predicting psychological adjustment after political vio- a group of students listened to a music segment and
lence among Palestinian children. International Journal of measured the time with a chronometer, Boltz (1989)
Behavioral Development, 25(3), 256–267. models of estimation and perception of time were used.
92 | sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress

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

references apresentada no I Simpósio Internacional de Surdocegueira e


Jauset Berrocal, J.A. (2008). Música y neurociencia: la musi- Deficiências Múltiplas, São Paulo, 9 a 11 de outubro.
coterapia. Sus fundamentos, efectos y aplicaciones terapéuti- Olivera, Queila de (2008). Music Therapy and Pre-linguistic
cas. Barcelona: UOC. Communication with Deafblind People. In: WFMT (Org.), XII
Congreso Mundial de Musicoterapia. Buenos Aires: Librería
Lacarcel Moreno, J. (1990). Musicoterapia en Educación Es-
Akadia Editorial, pp. 85-88.
pecial. Servicio de publicaciones, Universidad de Murcia.
Perry, M. (2003). Relating Improvisational Music Therapy with
Poch Blasco, S. (1999). Compendio de Musicoterapia. Vol. 1 i Severely and Multiply Disabled Children to Communication De-
2. Barcelona: Herder. velopment. Journal of Music Therapy. vol. 40, n° 2, pp.227-246.
Wong, E. (2004). Clinical Guide to Music Therapy in Physical
Keywords: Music Therapy, Developmental Disabilities,
Rehabilitation Settings. Maryland: AMTA.
Intellectual Disabilities, Quality of Life.
Keywords: Music Therapy, multiples disabilities, school
núria Ferré Cardona. Degree in Music (Conservatori
Superior de Barcelona). Master in Music therapy (Uni- Gustavo schulz Gattino. MD is a music therapy re-
versitat de Barcelona). Horn and choral professor. searcher in autism and multiple disabilities fields. He is
Music therapists to APASA (intellectual disability) and currently PhD student in Pediatrics at UFRGS University
Institut Pere Mata (psychiatric hospital). (Brazil). gustavogattino@terra.com.br
nuria7984@hotmail.com / nuriamt@apasa.org

tHe psYCHosoMAtiC proCesses


inDUCeD BY CLAssiCAL MUsiC in
MUsiC tHerApY in eDUCAtionAL
HeALtHY stUDents
ConteXt For CHiLDren WitH
MULtipLe DisABiLities iamandescu, ioan Bradu - romania
iamandb@yahoo.com
Gattino, Gustavo - Brazil
Hampe, ruth - Germany
gustavogattino@terra.com.br
hampe@kfh-freiburg.de
Chitu, Alexandru - romania
Abstract andutu87@yahoo.com
Music therapy for children with multiple disabilities can
be accomplished in two ways: clinical music therapy and Abstract
education music therapy. Clinical music therapy focuses
on specific goals for development and rehabilitation of Background. The music effects on the somato-visceral
the individual skills. Education music therapy stimulates functions are not yet sufficiently established. They are
the child to improve their learning ability at school. The mediated by the cognitive and affective processes gen-
aim of this paper is to describe the education music ther- erated by the listening to music («somatisation»).
apy, showing some advantages of this practice in com- Objectives. The study in healthy and ill subjects of feel-
parison with clinical music therapy and it presenting ings and bodily sensations (correlates of emotions) after
some music therapy activities that can be performed in they listen to music. It could offer the researchers a pre-
the school context (musical improvisation to improve so- liminary proof for the music psychosomatic effects.
cial skills between classmates and musical accompani-
ment to improve motor and communication skills, for Method. 91 healthy German sociology students were lis-
example). The school is the place where the child attends tening to 2 Wagnerian music pieces with a positive emo-
most of the week. On the other hand, clinics and hospi- tional tonality but inducing a contrasting atmosphere
tals are visited only in case of ambulatory attendance or (calm, relaxing, versus exuberant, storming). Subjects no-
clinical treatments. Some children acquire resistance to ticed on a questionnaire their positive or negative emo-
these places because many invasive procedures are per- tions and their bodily sensations after each piece audition.
formed in hospitals or clinics (examinations, hospitaliza- Results. Among the 273 bodily sensations, reported by
tions and surgeries, for example).Because it is a new field the 91 subjects, mostly registered were: warm and
of action is not yet possible to establish guidelines on «goose skin» (for first music piece – 1 MP), and tension,
how the sessions should be implemented. Furthermore, palpitations (for second music pieces – 2 MP).
music therapy should be further explored in clinical trials
Positive feelings( 459 responses) mostly reported by
and case studies to be observed that the efficacy of treat-
the subjects were: cheerful and joy for 1 MP, and tri-
ment for children with multiple disabilities.
umph and exaltation for 2 MP versus negative feelings
references (299 responses),among which anxiety and bad antici-
Gattino G.S. (2008). Musicoterapia para crianças com deficiên- pations were mostly reported after both 1 MP and 2 MP.
cias múltiplas: possibilidades na prática clínica. Comunicação
96 | sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress

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

lined. The beginning of the first period goes back to the


MUsiC tHerApY AnD CHroniC pAin 1980-s. Researchers and practitioners who were inter-
Lorenzo, Alicia - spain ested in the therapeutic effect, meaning and experience
of music, gathered at Tallinn Pedagogical Institute and
alicialorenzo@hotmail.com
invited guest researchers and therapists from abroad.
The first key-persons-Prof. Petri Lehikoinen form Sibe -
Abstract lius Academy (Finland), Prof Olav Skille (Norway), Prof
Tony Wigram from Aalborg University (Denmark) gave
This presentation tries to highligth the importance of a
initiation to the birth of Estonian Society of Music Ther-
music therapy process in the development of self-steem,
apy, which joined the European Music Therapy Confed-
strength and motivation on a group of women with
eration and the World Federation of Music Therapy.
chronic pain. Music is used as pain distraction, as emo-
tional relief, as a way to create healthy relationships and In 1995 the second period started with launching of post-
as a path to recover the strength, the humor and other graduate entry level courses and a minor subject in music
qualities the patients have behind their pain. It enhances therapy by Alice Pehk at Tallinn Pedagogical University.
also the use of different instrumental improvisations on Fifteen courses have been carried out since present. In
coping and managing the patient´s emotions. On the 2002-2006 Estonian music therapy field and research
other hand, the use of sonwritting tecniques from the pa- work was enlivened by advanced music therapy semi-
tients focusing on the positive aspects of themselves and nars presented by Prof. Dr. Hans-Helmut Decker-Voigt at
the other members of the group facilitates a big change Tallinn University. The project has been supported by the
on their percepcion of their reality and of their illnesses. donators Prof. Dr. Hannelore Greve and Prof. Dr. Helmut
references Greve (Germany). 26 students were certificated.
Baker. J, Wigram, T. ( 2005 ). Songwritting: methods, tech- The year 2007 indicates the beginning of the third pe-
niques and clinical applications fot Music Therapy clinicians, riod. Bachelor’s and Master’s courses in Arts Therapies
educators and students. Jesica Kingsler Publishers were launched and Arts Therapies Curriculum worked
Bruscia, Kenneth. ( 2008 ). Musicoterapia: métodos y prácti- out by Ass. Prof. Eha Rüütel, the Head of the Curriculum
cas. Mexico . in collaboration work with representatives of different
Dubois, M.Y.( 2001 ). La medicina del dolor ya es una realidad. arts therapies, including music, visual arts, drama thera-
Revista de la SED, vol. 8, nº 1 py and psychodrama, dance and movement therapy.
Loewy, J. (1999). The use of Psychotherapy in the Treatment
of Pediatric Pain. In”. C. Dileo. Music Therapy and Medicine: references
Theoretical and Clinical Aplicattions”. USA: AMTA Bachelor of Arts Therapies. (2007). Tallinn University, Institute
Dileo, C. ( 1999 ). Music Therapy and Medicine: theoretical and of Fine Arts, Department of Applied Creativity. [Curricula
Clinical Aplicattions. USA: AMTA Press. overview in English]. Available from:
http://www.tlu.ee/?LangID=2&CatID=3588&ArtID=
Keywords: Sonwritting, tonning, improvisation, self-
5126&action=articleB
steem, humor.
Master of Arts Therapies. (2007). Tallinn University, Institute of
Alicia Lorenzo. Musician (violin player) playing with dif-
Fine Arts, Department of Applied Creativity. [Curricula overview
ferent symphonic and camera orquestras in Spain dur- in English]. Available from:
ing ten years. Musictherapist ( N.Y.U ) and teacher and http://www.tlu.ee/?LangID=2&CatID=
coordinator of the Music Therapy Programm at the Uni- 3588&ArtID=5127&action=article
versidad Autónoma de Madrid. Rüütel, E., Tamm, S. (1995). Thoughts about music therapy re-
alicialorenzo@hotmail.com alities and possibilities in Estonia. Music Therapy Perspectives,
13(1), 51 – 52

Keywords: music therapy in Estonia, history, forming


tHree siGniFiCAnt steps on tHe periods, academic background, Tallinn University.
MUsiC tHerApY roAD in estoniA eve, Lukk. MA, Lecturer in music therapy at Tallinn Uni-
Lukk, eve - estonia versity. Clinical experiences with blind, adolescents in
evelukk@hotmail.com mental health, adults in oncology. Preventive music
therapy voice-work groups with adults. Doctoral Stu-
Mõistlik, Marit - estonia
dent of Music Therapy in Hamburg University of Music
moistlik@gmail.com and Theatre. evelukk@hotmail.com
pehk, Alice - estonia
Marit Mõistlik. MA, lecturer at Tallinn University music
alice.pehk@gim.ee
teacher with an interest of therapeutic use of music in
education. Current research theme deals with elements
Abstract of music therapy in the context of classroom music le-
ssons. Doctoral Student of Educational Sciences in
This presentation discloses a formative story of music Tallinn University. moistlik@gmail.com
therapy in Estonia. Three important periods can be out-
98 | sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress

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

Abstract The Profármaco2 of Barcelona (Spain) has organiced


a Non-Presential Cours for Psychiatrist. They invited me
Literature documents the importance of Music Therapy in-
–a year ago– to Direct and writte that Cours. It is finan-
tervention in clinical cases of developmental delay. Music
ced by STADA. The foundamental idea about this
Therapy can be applied to certain specific areas, such as
Cours it is to show the cientifical foundations and the
emotional expression, cognitive skills, physical, psycho-
big benefits that Music Therapy can apport to the men-
logical and communicational stimulation, social behaviour
tally ill patients and even for the staff of their hospital or
and the stimulation of individual resources. In children with
clinics . And invite psychiatrists to employ professional
developmental delay, music allows the development of
music therapist in their hospital or clinics. For the pro-
verbal, non-verbal and bodily communication.
gress of the Music Therapy in Spain it is needed that
The objective of this poster is to present individual Mu- psychiatrist has a clair ideas about this therapy.
sic Therapy intervention with a six year old child diag-
This Cours is divided in 14 chapters with an extention
nosed with non-identified Genetic Syndrome, and
of 150 pp. With a C/D. And an Evaluation Exem be-
presenting Developmental Delay and Behavioural
couse the Commission on Continuum Formation, of the
Changes. This clinical case was developed as practice
National System of Health of Spain, gave 3,3 Credits to
period the Postgraduate Training Program in Music
this Cours. The Introduction is written by Prof. Dr. Juan
Therapy at Escola Superior de Educação do Porto -
José López-Ibor Aliño, past President of the «World
IPP/ Universidad de Cádiz.
Psychiatric Association» and Psychiatry Prof. of the Uni-
The results show the importance of Music Therapy in versidad Complutense of Madrid.
dealing with this pathology, in combination with other ther-
references
apeutic options. Results were obtained specially on the
Dileo, Ch.(edit) (1999). Music Therapy and Medicine. Silver
level of psychosocial, motor and communicational areas.
Spring: AMTA.
references Lathom- Radocy, W. (2002). Pediatric Music Therapy. Spring-
Bruscia, K. (1998). Defining Music Therapy. New York. field: Ch. C. Thomas.
Fonseca, V. (2001). Psicomotricidade: Perspectivas Multidis- Poch, S. (1999, 2002,2006). Compendio de Musicoterapia.
ciplinares. Lisboa: Âncora Editora. Barcelona: Herder. Vol. I-II.
Moreno, J. (1999). «Fundamentos Psicopedagógicos de la Spintge, R (1992). Music Medicine. St. Louis (MO): MMB
Musicoterapia Aplicada a Ninos y Jóvenes com Minusvalías Music.
Físicas, Psíquicas o com Problemas de Conducta». In Chi- Unkefer, R.(edit). (1990). Music Therapy in the Treartment of
chon, Pascual, M. y col., Música y Salud: Introducción a la Mu- Adults with Mental Disorders. N.Y.: Schirmer Books
sicoterapia II. Madrid: UNED.
Keywords: Non-Presential Cours.- Psychiatry.- Music
Sabbatella, P. (2007). «Intervención Musical en los Transtornos
Therapy.- Mental Disorders patients
del Lenguaje: Orientaciones Teóricas, Metodológicas y Biblio-
gráficas». Revista Audición y Lenguaje, 8, 20-32. serafina poch Blasco. PhD, RMT(AMTA).- MT Inter-
Wigram, T., Pedersen, Inge N. & Bonde, L. (2002). A Compre- ship (1966) and Courses in USA. President of the «I
hensive Guide to Music Therapy: Theory, Clinical Practice, Re- Congreso Nacional de Musicoterapia» (Montserrat,
search and Training. London: Jessica Kingsley Publishers. Barcelona) (2006). Past Director, Master Music Therapy,
Keywords: Music Therapy; Children; Developmental University of Barcelona (UB). Founder «Asociación
Delay; Clinical Practice. Española de Musicoterapia» (AEMT). Founder and
Honor President «Associació Catalana de Musicoterà-
sandra Filipa pinto da Costa is a nurse and is in- pia» (ACMT). poch.serafina@gmail.com
volved in health projects in schools, working with chil- www.acmt83-07.com
sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress | 99

Margarida Moreira da rocha is teacher of Music Ed-


MUsiCAL DeVeLopMent oF ucation. She has worked with children, adolescents with
CHiLDren WitH AUtistiC speCtrUM special needs and adults with disabilities for twenty
DisorDers: resULts FroM years. Since qualifying in 1995, she has worked, also,
inDiViDUAL MUsiC tHerApY as a music therapist in Musiké – Oporto. She collabo-
interVentions rates with ESE-IPP, as an invited teacher. Master of Psy-
chology of Music, she is PhD student.
rocha, Margarida - portugal
patricia L. sabbatella. Phd Senior Lecturer in Music at
Margaridarocha68@gmail.com the University of Cádiz. She is Director of the Joint
sabbatella, patricia - spain Music Therapy Training Programme offered by the Uni-
patricia.sabbatella@uca.es versity of Cádiz (UCA, Spain) and the Instituto Politéc-
nico do Porto (IPP, Portugal). She is involved in research
activities focus on Music Education and Music Therapy
Abstract with children, teenagers and adults.
patricia.sabbatella@uca.es
Autistic spectrum disorders are classified as a complex
developmental disorder that manifests itself in abnor-
mal social interaction characterised by lack of response
to people and limited ability to communicate. Literature stAnDArDs For BeinG MUsiC
reports that most individuals with autism show a height-
tHerApists in spAin: nAtionAL
ened interest and response to music.
reGister AnD ACCreDitAtion
During Music Therapy treatment, children with autism
demonstrate skills and responses to music that in- sabbatella, patricia - spain
cludes musical stereotypes related to autism diagnosis. patricia.sabbatella@uca.es
For music therapy treatment goals it’s necessary to dis-
tinguish between these both types of musical behav-
iours to improve interaction and communication skills Abstract
trough music. During the General Assembly of EMTC Delegates, held
This poster describes the musical development of chil- in Nantes, France on October 30, 2008, the countries
dren diagnosed with autism spectrum disorder, aged 3 of Southern Europe EMTC members (Portugal, Spain,
to 10 years-old, identifying different levels of music re- Italy, Greece, Israel) agreed to develop a document
sponses. Observational techniques were used to cate- defining the criteria or Standards for being a Music
gorized music responses in individualized music therapy Therapist in each South Country. For this purpose, the
treatment interventions. Results discuss the contribution Spanish Delegation in EMTC established a procedure
of music therapy to the music development of children for the preparation of this document. Following the rules
with autism and the development of communicative skills. of EMTC, the design of the document was produced by
the Spanish Association of Music members of the Eu-
references
ropean Music Therapy Confederation (Catalonian As-
Di Franco, G., (1999). Music and Autism. Vocal Improvisation as sociation of Music Therapy; Association of Music
Containment of Stereotypes. In T. Wigram and J. De Backer (eds) Therapy from Cádiz, Castilian-Leonesa Association for
Music Therapy Applications in Developmental Disability, Paedia-
Studies, Development and Research in Music and Art
trics and Neurology. London: Jessica Kingsley Publishers.
Therapy, Music, Art and Process Association, and As-
Gold, C., Wigram, T. & Elafant, C. (2006). Music therapy for sociation of Professional Music Therapy.
autistic spectrum disorder (Cochrane Review). The Cochrane
Library, Issue 2, 2006 Chichester, UK, John Wiley & Sons, Ltd. This poster presents the Document «Standards for being
Heaton, P., Hermelin, B., & Pring, L. (1999). Can children with Music Therapy in Spain» and the adaptation of the Euro-
autistic spectrum disorders perceive affect in music? An experi- pean Music Therapy Register (EMTR) to national guide-
mental investigation. Psychological Medicine, 29(6), 1405-10. lines: the Spanish Music Therapy Register (Registro de
Ole Bonde, L. (2007). Steps in Researching the Music in Musicoterapeutas Acreditados en España – REMTA).
Therapy. In T. Wigram y T. Wosch (Eds.), Microanalysis in Music
references
Therapy. Methods, Techniques and Applications for Clinicians,
Researches, Educators and Students (pp.255-269). Londres: European Music Therapy Register (EMTR). EMTC.
Jessika Kingsley Publishers Sabbatella, P. (2008). Formación y Profesionalización del Mu-
Wigram, T., (2000). A method of Music Therapy Assessment sicoterapeuta en España: Perspectivas ante el Espacio Euro-
for the Diagnosis of Autistic and Communication Disordered peo de Educación Superior y el Registro Europeo de
Children. Music Therapy Perspectives 18, 1, 13-22 Musicoterapeutas. Actas II Congreso Nacional de Musicotera-
pia. Pág. 103-106. Asociación Aragonesa de Musicoterapia.
Keywords: Music development; music therapy inter-
Keywords: Music Therapy Accreditation; Music Thera-
vention, Autism Spectrum Disorder.
py Register; Music Therapy in Spain.
100 | sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress

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

Music therapy assessment tools and protocols for chil-


schwaiblmair. Frauke - Germany
dren require specific procedures adapted to their needs.
frauke.schwaiblmair@musiktherapie.de
Musical Experiences can be used as assessment tools
for screening the child developmental stage finding cor-
Abstract
respondences between musical and non-musical areas.
Musical skills and abilities can inform about cognitive, As part of the psychological counselling services pro-
emotional, social and neurological development. vided in a child care facility for children up to three years
of age, children and parents evidencing abnormal re-
This poster presents a Music Therapy Assessment Pro-
lationship behaviour are offered a course of music
cedure for children with diagnosed with Developmental
therapy. In addition, the staffs receive parallel coun-
Disorders (aged 3 -6 years-old) based on Sound-Musi-
selling on how to shape their relationships to infants
cal Experiences and Games (JSMI). Observational tech-
and toddlers. The course is evaluated in collaboration
niques were used to categorized music and non-music
with the music academy of Nuremberg and Augsburg.
responses in individualized music therapy treatment in-
The project is described and initial results presented.
terventions using the Individual Musical Development
Recording Protocol (RCMPE). Data collection covers Keywords: Music therapy, prevention, attachment dis-
musical behaviors of developmental stage from sen- orders, nursery
sory-motor play to symbolic play. Data interpretation in-
Frauke schwaiblmair. PhD. Music therapy study: Uni-
form about developmental delays in musical and
versity of Music Vienna, Austria. Psychology studies:
non-musical areas. Results discuss the contribution of
Universities of Munich and Eichstaett, Germany. Ph.D.
this Music Therapy Assessment Procedure to clinical
studies: University of Witten/Herdecke, Germany.
practice and assessment of clients in Music Therapy.
frauke.schwaiblmair@musiktherapie.de
references
Lazo, P. (1998). Musicoterapia: Una Propuesta Educativa-Tera-
péutica en Estimulación Temprana. Tavira, Nº 15, pág. 127-135.
Lazo, P. (2005). El Juego sonoro-musical. Guía de observación
musicoterapéutica en los problemas del desarrollo infantil.
Tesis. Universidad del Salvador. Buenos Aires: No Publicado.
sCientiFiC proGrAMMe | poster session | VIII European Music Therapy Congress | 101

to be a communication channel and promotes music


proFessionAL AssoCiAtion oF therapy within Belgium. The BMT works together with
MUsiC tHerApY (BMt AsBL) the College of Science and Art, campus Lemmensin-
stituut, where a high- level training course in music ther-
Varewyck, Daysi - Belgium apy is offered. Members of the association can follow
d_varewyck@skynet.be new developments closely; the feedback from working
music therapists has an influence on the training
course. By our membership of the EMTC and our pres-
Abstract ence in the European Congress in Cadiz we hope to
The Professional Association of Music Therapy brings strengthen our bonds within Europe.
together all music therapists with a recognized master Daisy Varewyck qualified as a music therapist at the
qualification in Flanders, Belgium. The aim is to organ- Lemmensinstituut (Belgium). She is a member of the
ise workshops, seminars, lectures and group supervi- board of the BMT. Since 2009 she is pursuing her post-
sion to ensure quality offered by our members. Our graduate for psychoanalysis.
journal and website (www.muziektherapie.net) are con- d_varewyck@skynet.be
stant sources of information for members as well for daisy.varewyck@fracarita.org
other health care workers. This enables the foundation
emTc 2010 – compleTe TimeTable • ThuRSday, may 6Th
FaculTad de
aulaRio la bomba
FiloSoFía y leTRaS
Sala mulTiuSoS
Room 6 (1st Floor) Room 7 (1st Floor) Room 8 (2nd Floor) Room 9 (2nd Floor) aula magna Salón de gRadoS
(1st Floor)
chair ToniuS TimmeRman adRienne leRneR WoRkShop Round Table Round Table

The effect of music


Musicking the way to
and imagery to reduce
empowerment one
nausea and emesis in
8.45 – song at a time
cancer patients under-
9.30 h. Ahmadi, Mandana
going chemotherapy Health and pathology Music Therapy and
& Kerryn, Torrance –
Gimeno, Montserrat & in the dynamics of Global Crisis: Where Music Helps -
South Africa
Boyle, Mary – USA musical structure and Preparedness, from within Communities
relating: a psychoa- Responses, Relief of Practice
nalytically informed and Recove Brynjulf Stige, et al. –
The effect of songwri-
perspective Magill, Lucanne, Norway
ting on cancer pa- Music Therapy by
9.30 – tients’ quality of life, Lawes, Martin – UK et al. – Canada
Proxy: using humani-
10.15 h. mood and distress zed images in song
O’Brien Emma – Chambers, Carol – UK
Australia

10.15 –
coFFee bReak / Lobby – Aulario La Bomba
10:45 h.
monika nöckeR-
chair alicia loRenzo WoRkShop Round Table SympoSium
RibaupieRRe

Music Therapy and Group song writing


enhances quality of life
10.45 – Cancer Care
Stanczyk, Monika in severe mental illness
11:30 h. Malgorzata - Poland Grocke, Denise – The Benenzon's Model Music Therapy and
Australia For a Creative of Music Therapy: Spirituality: Multicultural
Didactics in Theory and Practice Theories, Approaches
Music Therapy in Europe and Research
102 | ScienTiFic pRogRamme | daily pRogRamme & TimeTable | VIII European Music Therapy Congress

Music-therapy in a Facchini, Diana – Italy De Michele, Renato Magill, Lucanne, et al. –


Improvisation in
Paediatric Oncology et al. – Italy Canada
11.30 – relationship to the
/Hematology Unit
12:15 h. Capolsini, Lorenzo end of life
Baroni, Mariagrazia
Italy

12.30 - keynoTe SpeakeR: dR. Tony WigRam – denmaRk


13.30 h. Aula Magna – Facultad de Filosofia y Letras

13.30 - TapaS lunch


15.00 h. Lobby – Aulario La Bomba
monika nöckeR luiS albeRTo
chair maRgaRida Rocha Jaakko eRkkilä WoRkShop SympoSium WoRkShop
– RibaupieRRe maTeoS

Music therapy with Drumpower – a music


therapy program ad- Do Music Therapists The music of the
premature infants: in-
dressing violence pre- Want to Use Compu- words: psychotherapy
15.00 - sights into systematic vention and social tational Music Analysis and music
review findings and
15.45 h. practical approaches integration in schools for Evaluating Ses- therapy
Nöcker-Ribaupierre, sions? Richards, Eleanor & New Evidence on
Haslbeck, Friederike – Sounding it Out: The Singing: A personal and
Monika & Wölfl, Streeter, Elaine – UK Loth, Hellen- UK Music Therapy in
Germany use and application of professional need -
Andreas – Germany Mental Health -
vocal techniques in The voice as primary
Research and Clinical
Music therapy supported music therapy practice instrument in music therapy
Music therapy with “FFFORTISSIMO” - Findings
by new technologies “The Unattended Verney Caird, Sarah & Uligh, Silka -
babies from 0 to 6 Research Intervention Gold, Christian, et al. -
Dionísio Corrêa, Ana Moment” – silent and Nares, Susan - UK The Netherlands
in Neapolitan School Norway
15.45 - months in Pediatric Grasielle; Karaguilla musical spaces with
Intensive Care Unit Circles
16.30 h. Del Olmo Barros, M; Ficheman, Irene; do disturbed adult
Facchini Diana; De Nascimento, patients
Rodriguez Garrido, C. Rosa, Elena; De Mi- Mariaelena & de Deus Sutton, Julie – Ireland
& – Spain chele, Renato – Italy Lopes, Roseli – Brazil

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

Episodes of From individual impro-


The role of music Using music
Relationship visation to “collective”.
therapy with anxious, technology in clinical
17.00 - completion through A practice of music
school refusing practice: what, who,
17.45 h. songs in Palliative Care therapy relationship.
adolescents how, when and why?
Clements-Cortes, Amy Maggiori, Marinella & Voice Forum (3): The voice
Shipley, Amy – UK Magee, Wendy – UK Healing Ragas –
– Canada Romanelli, Elena as primary instrument in
The gift of Indian
New Evidence on music therapy; methods
Music Therapy in Medi- Classical Music
Translation, description Orchestrating change: Music Therapy in & research
cine: Theoretical and Shanker, Rajam –
and use of the “AQR”: The development, Mental Health – Uligh, Silka -
Practical Aspects of Music as a multi- India
an instrument for manualisation and Research and The Netherlands
17.45 - Music Therapy Applied functional tool in a
microanalysis of evidence for cognitive Clinical Findings
18.30 h. in the Medical Context child welfare setting
relationships. analytic music therapy
Mercadal-Brotons, Me- Krüger, Viggo- Norway Gold, Christian, et al. –
Sabeh, Eliana & Canga, Stella Compton &
lissa & Marti, Patricia – Norway
Bernardo – Spain Rebecca Lawday - UK
Spain

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

The power of music


Music Therapy Trauma
amongst Holocaust The music therapy
Research: A Conservatoire and A pilot project; identifying and
survivors during WWII: treatment package for
8.45 – National Health Trauma Service evaluating the impact of
Implications to music young students with
9.30 h. Collaborate music therapy
therapy emotional disturbances
Sloboda, Ann & O’Connor, Rebecca – UK From the beginning to Music Therapy with Young
Fisher, Atara & Sato, Kumi – UK
Carr, Catherine – UK the end: Exploring the People: Mapping Interna-
Gilboa, Avi – Israel
beginning and ending of tional Practice between
group improvisation School and Community
Katz Nirenstzein, Simona Cochavit Elefant, et al. –
Indonesian gamelan Creative Music and Sen-
How Recent Research and et al. – Italy Norway
Evaluating music in music: an exploration sory Integration for Chil-
9.30 – Theory on Trauma Stress
community music therapy of its relevance to dren with Attention and
10.15 h. Relates to Music Therapy,
Numata, Rii – Japan music therapy practice Hyperactive Disorders
Behrens, Gene Ann – US
Loth, Helen – UK Cominardi, Claudio – Italy

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

Moments of reconnection: complicated - research When Individual Therapy for operators


Creating a safe place in the Kern, Petra et al. - USA
A sociological exploration of and clinical practice in is not enough: Dyadic Vitiello, Pietro – Italy
11.30 – midst of aggression: Music
memory in therapeutic music therapy Interaction Treatment for
12:15 h. therapy in child psychiatry
musical practices Geretsegger, Monica & Traumatized Children
Degryse, Marieke – Belgium Kaczynski, Elizabeth –
Hara, Mariko - UK Tuomi, Kirsi - Finland
Austria

12.30 - keynoTe SpeakeR: dR. ToniuS TimmeRman – geRmany


13.30 h. Aula Magna – Facultad de Filosofia y Letras

13.30 - TapaS lunch


15.00 h. Lobby – Aulario La Bomba
chair chaVa SekeleS alicia loRenzo Ranka RaduloVic amelia oldField WoRkShop SympoSium

The Psychosomatic Im-


Evidence-Based Practice
What's a piano? pact of the Symphonic
Basic Emotions in Music in Early Childhood Music
15.00 - Portraying the «musical Music of the Hyperten-
Therapy Therapy: A Decision Ma- Applications of
15.45 h. personality» of the piano sive Patients
Wosch, Thomas - Germany king Process Declaredly Neurologic Music
Gilboa, Avi - Israel Rapiteanu, Carmen -
Kern, Petra - USA undeclared: Therapy with
Rumania
Shame in Music Paediatric and Adult Popu-
Music Therapy for Therapy lations:
Issues of Attachment and
Medical Patients: Metzner, Susanne - European
Music Therapy for Separation within Parent-
Responding to Evidence from Cochrane Germany Developments
15.45 - Patients with Toddler Groups in a Chil-
Emotions in the Field of Play Reviews with Future Magee, Wendy, et al. - UK
16.30 h. Borderline Personality Disorder dren’s
Jackson, Nancy A. - USA Implications
Strehlow, Gitta - Germany Dileo, Cheryl & Bradt, Joke Hospice
- USA Casey, Orla - UK

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

Music Therapy with


Acquired Brain Injuries: Poverty and Child
«Hansel and Gretel»: Relevance Perception of Preliminary Recommen- Abuse in Music
17.00 - and Meaning in one Client’s emotions in music by dations from Cochrane
Review
Therapy: A Pilot Study Integrated music in
17.45 h. Therapeutic Journey depressed patients
Bradt, J; Magee, W; Dileo, Kim, Jinah & Kim, dementia care -
Margetts, Lisa - UK Punkanen, Marko - Finland
C. Wheeler, B, MacWillow KwangHyuk - Korea a method for nursing
- USA
homes Applications of Neurologic
From the highest height Myskja, Audun - Music Therapy with
Movement Towards Change in Choral Therapy: Improving Thinking on a Case Study Norway
17.45 - to the lowest depth Paediatric and Adult
Arts-based Improvisational Music Quality of Life & Reducing of the Boy with
Music therapy with a Populations: European
18.30 h. Therapy Research Depression Adrenoleukodystrophy
paraplegic soldier Developments
Arnason, Carolyn - Canada Ahessy, Bill - Ireland Miyake, Hiroko - Japan
Sekeles, Chava - Israel Magee, Wendy, et al. - UK

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

Clinical improvisation in Mother and daughter in The value of music in


Voice and Singing within the Music Diagnosis – A new MT with people suffering music therapy. Sound everyday life working
8.45 – from dementia; space study, and its univer-
Couple, Resource for concept associated to with Rett Syndrome
Development of a sality in musicotherapy
9.30 h. Pregnancy and Delivery Music Therapy Bergström-Isacsson,
research project Mahé Mongiorgi, Felice &
Casanova, Giovanni – Italy Iamandescu, Ioan Bradu Coomans, Anke – Parbeau, Genevieve – Märith – Sweden
Workshop on Applied
Belgium France Music Therapy in Youth
Centres
Diví Castellón, Miguel
Mother and daughter in music Elaboration of a Music Storycomposing – A new
The STAM protocol in Ángel – Spain
therapy. Sound space study, Therapy Assessment Music Therapy Method DIR and Creative Music
dementia: a multicenter,
9.30 – and its “universality” in System for people with created together with Therapy in the Complex
single blind, randomized and
10.15 h. musicotherapy Alzheimer`s Disease children World of Autism
controlled study
Mahé Mongiorgi, Félicie & Mateos Hernández, Hakomäki, Hanna – Fin- Hensel, Stacey - USA
Ceccato, Enrico et al. – Italy
Parbeau, Genevieve - France L.A. et al - Spain land

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

Music therapy with Two phases of music


The music of the words: The Contribution of
mentally ill women and New ways in MA- therapy in autism:
psychotherapy and music Supervision to Structure
10.45 – their children in adult programs therapeutic relationship,
therapy building in selected Fields «Rhythm in a Chaotic
11:30 h. psychiatry Wosch, Thomas – Ger- education in therapy
Richards, Eleanor & Loth, He- of Music Therapy World» Dynamic Batucada:
Rentmeister, Ute Ger- many Andreopoulou, Panayiota
llen- UK Wolfram, Ilse - Germany Aspects of co-therapy for
many – Greece
group of adolescents with
psychological problems
106 | ScienTiFic pRogRamme | daily pRogRamme & TimeTable | VIII European Music Therapy Congress

Embarking in music therapy


Psychodynamic Approach to Music Therapy in Influences of Music Improvisation, Game and and PTSD
peer supervision: Where is
Performance Anxiety and Contemporary Mental Therapists’ Worldviews on Discovery with a four Bar-Even, Roey & Pridor,
11.30 – this boat taking us?
Possible Interventions of Music Health Care Work in Different Countries years-old Autistic Child Shay – Israel
12:15 h. Goni, Stella, Kalliodi, Chris-
Therapy Solli, Hans Petter – Wheeler, Barbara & Baker, Cerrotta, Gianpiero & De
tina & Koukourakis, Dimitri - Felicity – USA-Australia
Pehk, Alice - Germany Norway Michele, Renato – Italy
Greece

12.30 - keynoTe SpeakeR: dR. Ranka RaduloVic – SeRbia


13.30 h. Aula Magna – Facultad de Filosofia y Letras

13.30 - TapaS lunch


15.00 h. Lobby – Aulario La Bomba
chair ilSe WolFRam VilmanTe aleSkiene Wendy magee bill aheSSy Juande gaRcía WoRkShop

Music Therapy and Psychodynamic Music


Self-experiential learning – a Client’s «Craft» in Psychological Well-being Therapy in Communica-
The intrinsic immediacy of the
15.00 - research inquiry into music Music Therapy of Institutionalized Well tion of Children with
human voice in music therapy
15.45 h. therapy students’ perspective Randi Rolvsjord – Elderly Autism
Van Uytvanck, Mieke – Belgium Lindvang, Charlotte - Denmark Norway Gautier Nicolau, Maria Schulz Gattino, Gustavo
Gabriela - Portugal – Brazil Problem Solving Through
Creative Modeling and
Active Musical Imagination
Training and Development of Uncovering Hidden Po- Music therapy and Pehk, Alice - Estonia
Voice & psychosis: A psychoa- Therapeutic Competences of Jailhouse rock – music tentials: Collaboration of blindness: music therapy
15.45 - nalytical approach within music Music Therapists: Boundaries therapy in Bergen prison in Music Therapists Around for the blind, in
16.30 h. therapy of Inner Musicality Norway the World collaboration with a
Varewyck, Daisy - Belgium Sabbatella, P.; Rocha, M. & Tuastad, Lars - Norway Heiderscheit, Annie – multi-disciplinary team
ScienTiFic pRogRamme

Gomes, J.L - Portugal/Spain USA Pantaleo, Renato - Italy

16.30 - coFFee bReak


17.00 h. Lobby – Aulario La Bomba

17.00 - «The Wheel of Rhythms» –


17.45 h. A technique in musical Im-
provisation
Madureira Keller, Irene –
17.45 -
Germany
18.30 h.

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

aulaRio la bomba > ground floor

toilet
aula 2
aula 1

toilet
ScienTiFic pRogRamme | daily pRogRamme & TimeTable | VIII European Music Therapy Congress | 109

aulaRio la bomba > 1st floor

toilet
aula 7
aula 6

juntas
sala
de
multi-
usos
sala

toilet
110 | ScienTiFic pRogRamme | daily pRogRamme & TimeTable | VIII European Music Therapy Congress

aulaRio la bomba > 2nd floor


aula 9
aula 8

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

4 . social progr amme

Wednesday, May 5 t h
18:00-19:30 hs. Opening Ceremony. Facultad de FilosoFia y letras, aula Magna.

20:00-22:00 hs. Welcome Cocktail! lobby aulario de la boMba.


Concert: Big Band Real Conservatorio de Música Manuel de Falla de Cadiz.
conductor: Pedro cortejosa.

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.

Saturday, May 8th


19:00-20:30 hs. Clossing Ceremony. Facultad de FilosoFia y letras, aula Magna.

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.

5 . cong res s mee tings

5.1. European Music Therapy Confederation (EMTC)


www.emtc-eu.org

Facultad de FilosoFía y letras (uca) – sala de Junta i (1st Floor)


Monday, May 3rd
16.00–20.00hs eMtc core board

Tuesday, May 4th


09.00–13.00hs eMtc board
14.00–18.00hs eMtr commission

European Music Therapy Confederation General Assembly – Cádiz 2010


18.00–20.30hs eMtc general assembly - delegates Meeting

Wednesday, May 5th


09.00–16.00 eMtc general assembly – delegates Meeting
SOCIAl PrOGrAMME | VIII European Music Therapy Congress | 113

5.2. World Federation of Music Therapy (WFMT)


www.wfmt.info

Facultad de FilosoFía y letras (uca) – sala de Junta ii (1st Floor)


Tuesday, May 4th
09.00–18.00 hs. WFMt annual council meeting

5.3. Nordic Journal of Music Therapy

Facultad de FilosoFía y letras (uca) – sala de Junta i (1st Floor)


Thursday, May 6th
19:00-21:00 hs. Journal’s advisory editorial board meeting

Friday, May 7th


19:00-20:00 hs. Journal’s associate editor meeting
20:00-21:00 hs. launch reception nordic Journal of Music therapy.
aulario la bomba - lobby ground Floor

5.4. Spanish Music Therapy Associations affiliated to the EMTC

aulario de la boMba – sala de reuniones i (1st Floor)


Saturday, May 8th
10:45-12:15 hs. acMt – agaMut – aPM – aeMP – agru – Parte – aclediMa

6. sponsors

UPACE
san Fernando (cádiz) center for cerebral Palsy.
www.upacesanfernando.org

MUlTISON
www.multisononline.com
114 | VIII European Music Therapy Congress

VIII EMTC 2010 CONGrESS PrOCEDINGS


FOrMATTING INSTrUCTIONS FOr AUThOrS

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)

Text Font of Entire Document: 12 point times new roman

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.

electronic sources (Web Publications):

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.

Send the document by email to cadizmt2010@viajeseci.es and emtcongress2010@gmail.com in-


cluding in the subject message: “PaPer Publication eMtc 2010”. one free copy of the eMtc 2010
congress Proceedings will be sent to authors.
116 | DElEGATES lIST | VIII European Music Therapy Congress

delegates list

agudo, ana raquel: isep@isep.es del olmo, Maria Jesus: mjesus.delolmo@uam.es


ahessy, bill: billahessy@gmail.com denessen, elisabeth: somethingels@telfort.nl
ahtarowa, liliya: lilyach@orbitel.bg derrington, Philippa: pderrington@cvcweb.net
ala ruona, esa: esa.ala-ruona@jyu.fi dileo, cheryl: cdileo@temple.edu
aleksiene, vilmate: vilmante_aleksiene@yahoo.com dimitriadis, theo: teomusthe@hotmail.com
alonso lópez, anais: anais0523@hotmail.com divi castellón, Miguel á.:
amrane, said: samrane@welho.com musicoterapiadivi@gmail.com
andreopoulou, Panayota: yiota_andreao@yahoo.gr dovinova, ima: dovinova.ima@gmail.com
añino, aara: saharaav2@yahoo.es
arnason, carolyn: carnason@wlv.ca eckbauer, Katrin: katrin.eckbauer@gmx.at
arponen, anu: anu.arponen@welho.com elefant, cochavit: cochavit.elefant@grieg.uib.no
attanasio, angelo: indract@alice.it erdal, Kerstin: kd.erdal@online.no
ayraam, Marina: maayraam@hotmail.com eriksen, eyjtein: eriksen.eriksen@gmail.com
erkklla, Jaakko: jerkklla@jyu.fi
banegas, nora: mora@banegas.de
bar even, roey: rbarven@gmail.com Fachner, Jorg: jorg.c.fachner@jyu.fi
baroni, Mariagrazia: mariagrazia.baroni@alice.it Fajfrova, Jitka: jitka.fajfrova@gmail.com
barsens, anita: anita.vbarsens@gmail.com Fausch, Heidi: hfausch@musiktherapie-
behrens, gene ann: behrenga@etown.edu fausch.ch
bergstrom-isacsson, Marith: Ferré, nuria: nuriamt@apasa.org
marith.bergstrom-isacsson@jill.se Fisher, atarah: michaelatarah@gmail.com
berman, albert: albertberman@tiscali.nl Fitzthum, elena: fitzthum@don.at
blanc, cinzia: cinzia.blanc@alice.it Fjeide, gunnfrid: gunnfrid@gmail.com
blanco gómez, teresa: tteresa@gmail.com Forgacs, eszter: forgacse@gmail.com
bonet, luisa: bonetluisa@yahoo.it
boyle, Mary: boylem@newpaltz.eud gaertner, May: maygaertner@numericable.fr
brandes, vera: vera.brandes@pmu.ac.at garcia cadena, gloria:
garciacadena@hotmail.com
caneva, Paolo alberto: geretsegger, Monika:
conomato@conservatorioverona.it monikageretsegger@gmx.at
capolsini, lorenzo: sonolorenzo@libero.it gerlinchova, Marketa:
carr, catherine: catherinecarr@hotmail.com Marketa.gerlich@sezram.cz
carrara lelis, claudia: clelis@terra.com.br gilboa, avi: gilboaa@mail.biu.ac.il
casey, orla: oria.casey@each.org.uk gimeno, Montserrat: gimenom@newpaltz.edu
casford, andre: gold, christian: christian.gold@uni.no
andreacasford@cambridgeshire.gov.uk goni, stella: gstella@hotmail.com
ceballos casado, luis: luisceb@hotmail.com gonzalez duperret, nicole:
ceccato, enrico: economato@conservatoriove- nicole.duperret@wanadoo.fr
rona.it goossens, islona: ilonagoossens@hotmail.com
cerrota, gianpiero: cerrottagian@libas.it gottfried, tali: taligott@bezeqint.net
chambers, carol: carolmch@tiscali.co.uk grocke, denise: d.grocke@unimelb.edu.au
clements cortes: amy, aclements@baycrest.org gronningstaeter, idasusanne:
cominardi, claudio: cominardi@tiscalinet.it idasuss@hotmail.com
coomans, anke: coomans.anke@telenet.be
corti, nicola: triktrak@inwind.it Hakomaki, Hanna:
hanna.hakomaki@storycomposing.fi
dahl, Helene Haugen: hhdahl@gmail.com Hara, Mariko: mh311@exeter.ac.uk
dahlstrom, Kajsa: kajsadahlstrom@hotmail.com Haslbeck, Friederike: musictherapy@halbeck.info
danbolt, ragnhild: Heiderscheit, annie: heide007@umn.edu
ragnhild.danbolt@student.uib.no Hernández Hdez., raúl: raulhdez_2@yahoo.es
de backer, Jos: jos.debacker@scarlet.be
de Michele, renato: demikar@alice.it intveen, andrea: intveen@udk-berlin.de
de vries, iris: iris0606@gmail.com
degryse, Marieke: marieke_degryse@yahoo.com Jackson, nancy: jacksonn@ipfw.edu
del campo, Patxi: patxi@agruparte.com
del Moral Marcos, Mª teresa: Kaczynski, elisabeth: ekaczynski@web.de
maitedelmoral@gmail.com Kalliodi, christina: christinakalliodi@yahoo.gr
Karterud, inger Marie: ikarte@broadpark.no
DElEGATES lIST | VIII European Music Therapy Congress | 117

Kern, Petra: petrakern@musictherapy.biz ortega Parreño, Purificación:


Kessel, irene: irenekessel@gmail.com negriu2@hotmail.com
Kim, Jinah: jinahkim@jj.ac.kr oskarsson, soren: soren.oskarsson@ltv.se
Kimura, Hiroko: pkimura@kumamoto-u.ac.jp ovimanki tahtinan, Kaija: kaija.tahtinen@sauna-
Kirlova, agneta: agneta.krilova@gmail.com lahti.fi
Koukourakis, dimitris: koukdim@hotmail.com
Kruger, viggo: viggokrv@online.no Paipare, Mirdza: mirdzap@hotmail.com
Kuuse, anna Karin: anna.kuuse@telia.com Pamplona oliveira ribeiro Meireles, cristina
Maria:
lawes, Martin: martin.mt@virgin.net cristina.meireles@alert.pt
lee, eun Jeong: eun-jeong.lee@med.uni- Pantaleo, renato: renato.pantaleo@libero.it
heidelberg.de Papadopoulou Kantaris, Magda:
lempiainen, Heikki: heikkilempitinen@hotmail.com magdpapa@yahoo.com
lerner, adrienne: adrilerner@wanadoo.fr Parbeau, genevieve: cantapsy@orange.fr
lindblad, Katarina: katarina.lindblad@comhem.se Paulander, ann sofie:
lindvang, charlotte: chli@mail.tdcadsl.dk ann.sofie.paulander@kmh.se
litjens, sure nanne: s.litjens@live.nl Pehk, alice: alice.pehk@gim.ee
lociuro, Julien: julien.lociuro@gmail.com Perez Migueláñez, Mª esther:
loombe, dawn: loombedawn@aol.com esthercillaperez@gmail.com
lorenzo, alicia: alicialorenzo@hotmail.com Pinto da costa, sandra: sandrape@portugal-
loth, Helen: helenloth@anglia.ac.uk mail.pt
loti Knoll, spela: lotiprojekti@yahoo.com Poch blasco, serafina:
luber, lydia: lydia.luber-eckler@aik-kmo.de poch.serafina@gmail.com
lukk, eve: evelu@tlu.ee Pridor, shay: prizugi@gmail.com
lyons, steven: bboblyons@hotmail.com Primadei, adriano: adrianoprimadel@libero.it
Punkanen, Marko: marko@uyanssi.net
Mag storz: dorothee, storz@mdw.ac.at Pyhaluoto, Kimmo: kimmo.pyhaluoto@khshp.fi
Magee, Wendy: drwmagee@rhn.org
Maggiori, Marinella: radulovick, ranka: dubran@eunet.rs
marinellamaggiori@diapason.bo.it rapiteanu, carmen: carmenrapit@yahoo.com
Mahé Mangiorgi, Félicie: felicie.mahé@epms-lc-lito- rentmeister, ute: ute.rentmeister@iak-kmo.de
ral.org richards, eleanor: e.richards@anglia.ac.uk
Mainka, stefan: mainka@reha-musik.de ridder, Hanne Mette: hanne@hum.aau.dk
Margetts, lisa: l.margetts@roehampton.ac.uk rodriguez rguez., Pilar:
Marti, Patricia: patmarti.mt@gmail.com pilar.rodriguezr@gmail.com
Martínez Fdez., Xavier: xavimobete@yahoo.es roefs, gerben:
Masiak, elzbieta: ellamasi@yahoo.com mtc_the_netherlands@yahoo.com
Mateos Hernández, luis alberto: rolvsjord, randi: randi.rolvsjord@grieg.uib.no
lamateoshe@upsa.es romanelli, elena: marinellamaggiori@diapa-
Maurer, christoph: christoph_maurer@gmx.at son.bo.it
Mcferran, Katrina: k.mcferran@unimelb.edu.au rossi, Maria dolores: mariolina.rossi@libero.it
Mercadal brotons, Melissa: rudstam, gabriella:
brotons@compuserve.com gabriella.nedstam@krisochtraumacentrum.se
Mertel, Kathrin: kathrin.mertel@klinlk-bavaria.de
Metell, Maren: maren.metell@student.uib.no sabeh, eliana noemí: ensabeh@upsa.es
Miyake, Hiroko: hiro-muf@bj9.so-net.ne.jp san romualdo corral: beatriz,
Moistlik, Marit: moistlik@gmail.com bsanco@upsa.es
Mossler, Karin: karin.moessler@grieg.uib.no sánchez Martín, ana: anasm84@hotmail.es
Myskja, audun: info@livshjelp.no sanfi, ian: ilan@sanfi.dk
sarri, rosa María: rosamariasarri@virgilio.it
nakajima, Kaori: kaori0511@gmail.com sato, Kumi: sato46@newpaltz.eud
nares, susan: susan@nares.net saukko, Päivi: paivi.saukko@terapeija.fi
nascimiento, Marilena: schotsmans, Marijke: mschotsmans@msn.com
marilena.nascimiento@gmail.com schulz gattino, gustavo:
nicolau, gabriela: maggnicolau@gmail.com gustavogattino@terra.com.br
nirensztajn Katz, simona: snirensztein@suonoesi- schwaiblmair, Frauke:
lenzio.it frauke.schwaiblmair@musiktherapie.de
nocker ribaupierre, Monika: mnoeckrib@aol schwaiger ludeschek, gabriele María:
numata, rii: riinumata@r8.dion.ne.jp schwaiger.ludeschek@gmx.ot
seidel Kmust, christiene: chrissi.s@gmx.net
o´brien, emma: emma.obrien@mh.org.au sekeles, chava: sekeles@netvision.net.il
o´connor, rebecca: oconnor@panoram.co.uk shanker, rajam: rajams@yahoo.com
oldfield, amelia: amelia.oldfield@hotmail.co.uk shimada, Kumi: shima93@gmail.com
118 | DElEGATES lIST | VIII European Music Therapy Congress

shipley amy: amy.e.shipley@googlemail.com verney card, sarah: sarahre49@yahoo.co.uk


sloboda, ann: annslobod@aol.com vitiello, Pietro: pietrovit@virgilio.it
solli, Hans Petter: hpsolli@gmail.com vlachová, zuzana: zuzkavlachova@seznam.cz
spink, ian,: iainspink@yahoo.co.uk von Moreau, dorothee: dvmoreau@isch.de
stanczyk, Monika Malgorzata:
mmstanczyk@am.poznan.pl Wakao, yu: wakaoyu@nifty.com
standford, stephen: stephen.sandford@swlstg- Wallius, rut: wallius@comhem.se
tr.nhs.uk Wassink rianne: rianne.wasskin@gmail.com
straub, slija: siljastraub@gmx.de Wheeler, barbara: barbara.wheelen@lousville.edu
streeter, elaine: es530@york.ac.uk Wigram, tony: tony@hum.aau.dk
strehlow, gitta: gitta.strehlow@t-online.de Wilhelmsen, christine: christine_wil@hotmail.com
sutton, Julie: emtcjulie@tiscali.co.uk Wiltgen sanavia, Marianne:
suviini, Ferdinando: ferdisuvini@libero.it marianne@wiltgen-sanavia.lu
szulc, Wita: wszulc@amu.edu.pl Wölfl, andreas: awoelfl@freies-musikzentrum.de
Wolfram, ilse: ilse.wolfram@t-online.de
taipale, Markku: markku.taipale@kolombus.fi Wosch, thomas: wosch@fh-wuerzburg.de
tankara, Junko: itanaka@mw.kawasaki-m.ac.jp
thomas, nina: nina.thomas@gmx.at zeevi, noa: vinona28@yahoo.com
timmermann, tonius: tonius@timmermann-
domain.de
torrance, Kerryn: alexanne@music-therapy.org.za
tripamer, Úrsula: usula.tripamer@gmx.at
tuastal, lars: lassotuastad@hotmail,.com
tuomi, Kirsi: luovat.tuulet@gmail.com

uhlig, sylka: sylka.uhlig@han.nl

van bruggen rufi, Monique ch.:


m.van.bruggen@atlant.nl
van der beek, rix: hutbeek@wxs.nl
van dijk, Melde: meldevandijk@hotmail.com
van dokkum, ammerensia: dokkup@casema.nl
van straaten, gea: geavanstraaten@xs4all.nl
van uytvanck, Mieke: mieke.vu@hotmail.com
vandereyken, sofie:
herman.verdoodt@recordgroup.be
varewyck, daisy: d_varewyck@

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