When reading the book Receptive Method in Music Therapy Techniques and Clinical Applicationsfor M... more When reading the book Receptive Method in Music Therapy Techniques and Clinical Applicationsfor Music Therapy Clinicians, Educators and Students, I am reminded of the title of a composition by Andrew Schultz: “Music is a gentle hammer”. * Listening to music sometimes seems to pierce body and soul, while at other times it is as if the music is wrapping us up in a gentle breeze. Music allows for inner experiences at different levels and supports a variety of images. Listening to music is a powerfd tool, both in music therapy and in everyday use. Accordingly, a book on techniques and clinical applications of receptive methods in music therapy is extremely valuable. Receptive Method in Music Therapy (2007) is the third book in a series aiming at providing practitioners with knowledge and skills within the three main categories of music therapy interventions: improvisation (Wigram, 2004)’ song composition (Baker & Wigram, 2005) and now a book on listening. This book is apractical book, which describes, rather than compares, the specific use of receptive methods and techniques in clinical practice and research in music therapy. Illustrative clinical vignettes enlighten the basic practices described in the text. This ten chapter book fills a gap in the music therapy literature and offers an important companion to Frohne-Hageman’s more philosophically-oriented edited book on Receptive Music Therapy (2007). Professor Cheryl Dileo sets the tone in her foreword, pointing to the fact that all music ultimately is received or heard by the client, no matter how the music is produced. Listening to music has always been important in people’s lives throughout history (Horgen, 2000). The first chapter focuses on engaging with clients verbally and musically. The authors make a valuable point when they address how the music therapist has to be comfortable with silence in music therapy, in order to allow the client to process the verbal and musical dialogue in her own way. Other useful reminders are how the therapist’s different value and belief system influence the therapist-client relationship and the importance of respecting the client’s personal integrity. The second chapter highlights the selection process of music for receptive methods in music therapy, offering a useful comparison of the elements of music for relaxation and music for imagery. However, it important to bear in mind that
Welcome to the first 2017 edition of Approaches! Last year was dedicated to two special issues: M... more Welcome to the first 2017 edition of Approaches! Last year was dedicated to two special issues: Music, Drama, Dance Movement and Art Therapy: Interdisciplinary Dialogues (Karkou 2016) and Dalcroze Eurhythmics in Music Therapy and Special Music Education (Habron 2016). The interdisciplinary focus of these two special issues highlights the vision of Approaches: to provide diverse perspectives on music therapy practice, profession and discipline by fostering polyphonic dialogues and by linking local and global aspects of music, health and wellbeing. We aim to work with scholars, researchers and practitioners from different fields related to music therapy while we try to create the conditions for healthy and academically robust debates. An open, yet critical, stance towards diverse, even conflicting, views, as well as a huge amount of learning and re-learning (Tsiris et al. 2016), is needed for the accomplishment of this vision. We would like to take this opportunity to thank Approaches' editorial team members, the reviewers and, most importantly, the authors for promoting this vision within the journal. Many of our colleagues have served for several years as editorial team memberssome since the journal's establishment in 2008. We recently introduced a five-year pattern which means that some of our current team members will be stepping down at the end of this year. We express our sincere appreciation for their hard work and commitment over the past years. Their role has been vital for the growth of Approaches. Our thanks also go to the past and current sponsors of Approaches. This edition begins with a special feature entitled Music Therapy: A Profession for the Future.
The discipline of music therapy is practiced differently across the globe and over the years, in ... more The discipline of music therapy is practiced differently across the globe and over the years, in all regions of the world, the number of music therapy training programs has expanded. As such, there is a need to reflect on the differences between education and training programs, which vary according to the local culture, educational needs, theoretical background, and scope, among others. Music therapists work in a variety of environments including hospitals, community centres, regular or special education schools, speciality clinics, private practice, and long-term care homes, etc. Music therapists are tasked with navigating policies in their workplaces and balancing the needs of their clients/consumers/service users. This article written together by educators and a student aims to present brief highlights of the work of the authors whose collaboration resulted in a presentation at the European Congress of Music Therapy in June 2022. This presentation focused on the challenges and issues faced by the discipline of music therapy and health in general, based on the analysis of systemic issues in education and training, social issues, and significant issues such as multiculturalism, equity, and race around the world. These were identified as important VOICES: A WORLD FORUM FOR MUSIC THERAPY REPORT
11 European Music Therapy Conference, Jun 28, 2019
This is the online version and printer friendly book of abstracts for the 11th European Music The... more This is the online version and printer friendly book of abstracts for the 11th European Music Therapy Conference 2019. The abstracts for poster presentations (P), roundtables (R), symposia (S), workshops (W) and paper presentations in this collection are ordered by their presentation number. The presentation number is also included in the programme schedule on the website and in the conference APP where you will also find the author biographies. At the end of this book of abstracts, at page 121, you will find an index of author names. KEYNOTES Resonating research-What is needed to make music therapy research and implementation more relevant, meaningful, and innovative? Monika Geretsegger In music therapy and many other fields, the importance of involving "users" in the research process has become increasingly recognised in recent years. "Users" in this context includes patients and other service users who may be directly affected by research, but also organisations representing their interests, and other end-users of research findings, such as health care personnel, decision-makers in health and care services, and health authorities. The rationale behind involving users in research projects is to improve impact, relevance, and applicability of research findings. Several music therapy researchers have started to implement participatory approaches in their studies to incorporate users' perspectives, but often, this only happens to a limited extent, and has just limited influence on overall study designs. Lately, more and more funding bodies request that user engagement takes place in, at best, all stages of a research project. Along with these developments, citizen science and open innovation in science initiatives are gaining momentum in some areas of research and public administration strategies.Drawing on the phenomenon of resonance as a metaphor, Monika Geretsegger will explore ways of doing research that facilitate better connections between those who belong to groups that are affected by research results, and those who fund, plan, and conduct research. Examples from various fields will illustrate different approaches and may inspire future considerations of how to best allow for processes of resonance in our way of conducting, being involved in, perceiving, and interpreting research and service implementation.
This text focuses on the music-listening practice of the Bonny Method of Guided Imagery and Music... more This text focuses on the music-listening practice of the Bonny Method of Guided Imagery and Music (BMGIM). Soundscapes, a music-listening programme comprising only Norwegian music, is described and illustrated through the practice of GIM with a female executive in her mid-thirties. After offering a brief overview of the GIM method, including development, training, and the music in GIM, I then turn to the development of the music programme Soundscapes. Thereafter, I discuss the music programme's potential to evoke images related to Norwegian landscape and culture. The main themes in the GIM process, 'in motion' and 'belonging', link to the client's renewed line of development. I suggest that music and musiclistening can promote images and transformative experiences where nature and cultural belonging are core elements, and that this is particularly evident when the Soundscapes programme is incorporated into GIM therapy.
Innledning 3 Et humanistisk perspektiv på norsk musikkterapi 5 Even Ruud Musikkterapi-et relasjon... more Innledning 3 Et humanistisk perspektiv på norsk musikkterapi 5 Even Ruud Musikkterapi-et relasjonelt perspektiv 29 Gro Trondalen Musikkterapiforskning-mellom praksis og akademia 49 Brynjulf Stige "Å bruke tiden-hva betyr egentlig det?" Tid og relasjon-et intersubjektivt perspektiv 67 Unni Tanum Johns Musikalsk improvisasjon, samspill, kommunikasjon og språk 85 Gro Hallan Tønsberg og Tonhild Strand Hauge Et dialogisk perspektiv på musikk som terapi 99 Rudy Garred Musikkterapi som kjaer-leik. Eit karnevalsk skråblikk på forholdet mellom fenomen som leik og musikkterapeutisk improvisasjon 111 Karette Stensaeth En ressursorientert musikkterapi 123 Randi Rolvsjord Samfunnsmusikkterapi-mellom kvardag og klinikk 139 Brynjulf Stige Barns spontansang-laering, kommunikasjon eller "selvets teknologi"? 161 Jan Sverre Knudsen Metoder for å analysere video-opptak av musikk og bevegelse 171 Egil Haga vi Nevrobiologisk grunnlag for musikkterapi 189 Hans Borchgrevink Etiske aspekter ved musikkterapeutisk forskning og utviklingsarbeid 203 Mie Mohlin
Ethical Musicality addresses the crossroads between music and ethics, combining philosophical kno... more Ethical Musicality addresses the crossroads between music and ethics, combining philosophical knowledge, theoretical reflection, and practical understanding. When tied together, music and ethics link profoundly, offering real-life perspectives that would otherwise be inaccessible to us. The first part elucidates music and ethics through some influential and selected scholars ranging from Antiquity via modern philosophy to contemporary voices. In the second part, different roles and arenas are illustrated and explored through various music practices in real-life encounters for the musician, the music educator, the music therapist, the musicologist, the 'lay' musician, and the music researcher. The third part unfolds an ethical musicality focusing on the body, relationship, time, and space. Following these fundamental existentials, ethical musicality expands our lifeworld, including context, involvement, power, responsibility, sustainability, and hope. Such an ethical musicality meets us with a calling to humanity-offering hope of a 'good life'.
Denne teksten gjenspeiler deler av studien "Musikere og helse". Prosjektet er godkjent av Norsk S... more Denne teksten gjenspeiler deler av studien "Musikere og helse". Prosjektet er godkjent av Norsk Samfunnvitenskapelig Datatjeneste (NSD). En stor takk til informantene som deltok, og som gav sitt informerte samtykke. Takk også til Norges musikkhøgskole for forskningsstøtte studieåret 2008/2009, og til Musikernes Fellesorganisasjon (MFO) for velvillig distribusjon av invitasjon til deltakelse i prosjektet.
This effort is a part of the research project titled 'Musical Life Stories: Music as Health Perfo... more This effort is a part of the research project titled 'Musical Life Stories: Music as Health Performance'. The study has been approved by the Norwegian Social Science Data Services (NSD). My thanks go to the participant who gave her informed consent. I have chosen not to disclose the instrument in question, to help preserve the musician's anonymity.
This article presents and discusses a clinical music therapy protocol for use during an invasive ... more This article presents and discusses a clinical music therapy protocol for use during an invasive cardiac procedure and the theoretical rationale behind it. The protocol was developed for a specific invasive cardiac procedure performed transvenously with local anaesthesia: cardiac implantable electronic device lead extraction. The music listening intervention presented in the protocol aims to optimise stress and pain management for patients through patient involvement, communication, individualised music listening and relaxation techniques. The Music Therapist remains present throughout the peri-operative phase (in the operating theatre during the operation). The music is chosen from a limited set of prepared playlists through a process involving assessment and patient preference. Biological, psychological and social components are integrated into the protocol, which is also informed by the theory of music therapy as procedural support, the neuromatrix theory of pain and receptive music therapy techniques. The protocol was developed to be standardised for implementation into the existing medical procedure, yet flexible enough to meet individual patient needs. It is the cornerstone of the research protocol of an ongoing randomised controlled trial at the Department of Cardiology at Oslo University Hospital Ulleval. Results of the randomised controlled trial, focussing on quantitative efficacy outcomes, are expected in 2020.
This article describes a music therapy process with a 14-year-old girl I will call Sara, who had ... more This article describes a music therapy process with a 14-year-old girl I will call Sara, who had ceased talking for some years. Sara was an in-patient at a Centre for Child and Adolescent Psychiatry. During nine months of individual music therapy, Sara presented herself through improvised music and eventually an audible voice. In this article I argue that what I term relating experiences through music has contributed to strengthening Sara's ‘self-in-relation’ and given her space for increased autonomy. This allowed Sara to perceive herself in new ways, which led to a more permanent sense of her identity.
When reading the book Receptive Method in Music Therapy Techniques and Clinical Applicationsfor M... more When reading the book Receptive Method in Music Therapy Techniques and Clinical Applicationsfor Music Therapy Clinicians, Educators and Students, I am reminded of the title of a composition by Andrew Schultz: “Music is a gentle hammer”. * Listening to music sometimes seems to pierce body and soul, while at other times it is as if the music is wrapping us up in a gentle breeze. Music allows for inner experiences at different levels and supports a variety of images. Listening to music is a powerfd tool, both in music therapy and in everyday use. Accordingly, a book on techniques and clinical applications of receptive methods in music therapy is extremely valuable. Receptive Method in Music Therapy (2007) is the third book in a series aiming at providing practitioners with knowledge and skills within the three main categories of music therapy interventions: improvisation (Wigram, 2004)’ song composition (Baker & Wigram, 2005) and now a book on listening. This book is apractical book, which describes, rather than compares, the specific use of receptive methods and techniques in clinical practice and research in music therapy. Illustrative clinical vignettes enlighten the basic practices described in the text. This ten chapter book fills a gap in the music therapy literature and offers an important companion to Frohne-Hageman’s more philosophically-oriented edited book on Receptive Music Therapy (2007). Professor Cheryl Dileo sets the tone in her foreword, pointing to the fact that all music ultimately is received or heard by the client, no matter how the music is produced. Listening to music has always been important in people’s lives throughout history (Horgen, 2000). The first chapter focuses on engaging with clients verbally and musically. The authors make a valuable point when they address how the music therapist has to be comfortable with silence in music therapy, in order to allow the client to process the verbal and musical dialogue in her own way. Other useful reminders are how the therapist’s different value and belief system influence the therapist-client relationship and the importance of respecting the client’s personal integrity. The second chapter highlights the selection process of music for receptive methods in music therapy, offering a useful comparison of the elements of music for relaxation and music for imagery. However, it important to bear in mind that
Welcome to the first 2017 edition of Approaches! Last year was dedicated to two special issues: M... more Welcome to the first 2017 edition of Approaches! Last year was dedicated to two special issues: Music, Drama, Dance Movement and Art Therapy: Interdisciplinary Dialogues (Karkou 2016) and Dalcroze Eurhythmics in Music Therapy and Special Music Education (Habron 2016). The interdisciplinary focus of these two special issues highlights the vision of Approaches: to provide diverse perspectives on music therapy practice, profession and discipline by fostering polyphonic dialogues and by linking local and global aspects of music, health and wellbeing. We aim to work with scholars, researchers and practitioners from different fields related to music therapy while we try to create the conditions for healthy and academically robust debates. An open, yet critical, stance towards diverse, even conflicting, views, as well as a huge amount of learning and re-learning (Tsiris et al. 2016), is needed for the accomplishment of this vision. We would like to take this opportunity to thank Approaches' editorial team members, the reviewers and, most importantly, the authors for promoting this vision within the journal. Many of our colleagues have served for several years as editorial team memberssome since the journal's establishment in 2008. We recently introduced a five-year pattern which means that some of our current team members will be stepping down at the end of this year. We express our sincere appreciation for their hard work and commitment over the past years. Their role has been vital for the growth of Approaches. Our thanks also go to the past and current sponsors of Approaches. This edition begins with a special feature entitled Music Therapy: A Profession for the Future.
The discipline of music therapy is practiced differently across the globe and over the years, in ... more The discipline of music therapy is practiced differently across the globe and over the years, in all regions of the world, the number of music therapy training programs has expanded. As such, there is a need to reflect on the differences between education and training programs, which vary according to the local culture, educational needs, theoretical background, and scope, among others. Music therapists work in a variety of environments including hospitals, community centres, regular or special education schools, speciality clinics, private practice, and long-term care homes, etc. Music therapists are tasked with navigating policies in their workplaces and balancing the needs of their clients/consumers/service users. This article written together by educators and a student aims to present brief highlights of the work of the authors whose collaboration resulted in a presentation at the European Congress of Music Therapy in June 2022. This presentation focused on the challenges and issues faced by the discipline of music therapy and health in general, based on the analysis of systemic issues in education and training, social issues, and significant issues such as multiculturalism, equity, and race around the world. These were identified as important VOICES: A WORLD FORUM FOR MUSIC THERAPY REPORT
11 European Music Therapy Conference, Jun 28, 2019
This is the online version and printer friendly book of abstracts for the 11th European Music The... more This is the online version and printer friendly book of abstracts for the 11th European Music Therapy Conference 2019. The abstracts for poster presentations (P), roundtables (R), symposia (S), workshops (W) and paper presentations in this collection are ordered by their presentation number. The presentation number is also included in the programme schedule on the website and in the conference APP where you will also find the author biographies. At the end of this book of abstracts, at page 121, you will find an index of author names. KEYNOTES Resonating research-What is needed to make music therapy research and implementation more relevant, meaningful, and innovative? Monika Geretsegger In music therapy and many other fields, the importance of involving "users" in the research process has become increasingly recognised in recent years. "Users" in this context includes patients and other service users who may be directly affected by research, but also organisations representing their interests, and other end-users of research findings, such as health care personnel, decision-makers in health and care services, and health authorities. The rationale behind involving users in research projects is to improve impact, relevance, and applicability of research findings. Several music therapy researchers have started to implement participatory approaches in their studies to incorporate users' perspectives, but often, this only happens to a limited extent, and has just limited influence on overall study designs. Lately, more and more funding bodies request that user engagement takes place in, at best, all stages of a research project. Along with these developments, citizen science and open innovation in science initiatives are gaining momentum in some areas of research and public administration strategies.Drawing on the phenomenon of resonance as a metaphor, Monika Geretsegger will explore ways of doing research that facilitate better connections between those who belong to groups that are affected by research results, and those who fund, plan, and conduct research. Examples from various fields will illustrate different approaches and may inspire future considerations of how to best allow for processes of resonance in our way of conducting, being involved in, perceiving, and interpreting research and service implementation.
This text focuses on the music-listening practice of the Bonny Method of Guided Imagery and Music... more This text focuses on the music-listening practice of the Bonny Method of Guided Imagery and Music (BMGIM). Soundscapes, a music-listening programme comprising only Norwegian music, is described and illustrated through the practice of GIM with a female executive in her mid-thirties. After offering a brief overview of the GIM method, including development, training, and the music in GIM, I then turn to the development of the music programme Soundscapes. Thereafter, I discuss the music programme's potential to evoke images related to Norwegian landscape and culture. The main themes in the GIM process, 'in motion' and 'belonging', link to the client's renewed line of development. I suggest that music and musiclistening can promote images and transformative experiences where nature and cultural belonging are core elements, and that this is particularly evident when the Soundscapes programme is incorporated into GIM therapy.
Innledning 3 Et humanistisk perspektiv på norsk musikkterapi 5 Even Ruud Musikkterapi-et relasjon... more Innledning 3 Et humanistisk perspektiv på norsk musikkterapi 5 Even Ruud Musikkterapi-et relasjonelt perspektiv 29 Gro Trondalen Musikkterapiforskning-mellom praksis og akademia 49 Brynjulf Stige "Å bruke tiden-hva betyr egentlig det?" Tid og relasjon-et intersubjektivt perspektiv 67 Unni Tanum Johns Musikalsk improvisasjon, samspill, kommunikasjon og språk 85 Gro Hallan Tønsberg og Tonhild Strand Hauge Et dialogisk perspektiv på musikk som terapi 99 Rudy Garred Musikkterapi som kjaer-leik. Eit karnevalsk skråblikk på forholdet mellom fenomen som leik og musikkterapeutisk improvisasjon 111 Karette Stensaeth En ressursorientert musikkterapi 123 Randi Rolvsjord Samfunnsmusikkterapi-mellom kvardag og klinikk 139 Brynjulf Stige Barns spontansang-laering, kommunikasjon eller "selvets teknologi"? 161 Jan Sverre Knudsen Metoder for å analysere video-opptak av musikk og bevegelse 171 Egil Haga vi Nevrobiologisk grunnlag for musikkterapi 189 Hans Borchgrevink Etiske aspekter ved musikkterapeutisk forskning og utviklingsarbeid 203 Mie Mohlin
Ethical Musicality addresses the crossroads between music and ethics, combining philosophical kno... more Ethical Musicality addresses the crossroads between music and ethics, combining philosophical knowledge, theoretical reflection, and practical understanding. When tied together, music and ethics link profoundly, offering real-life perspectives that would otherwise be inaccessible to us. The first part elucidates music and ethics through some influential and selected scholars ranging from Antiquity via modern philosophy to contemporary voices. In the second part, different roles and arenas are illustrated and explored through various music practices in real-life encounters for the musician, the music educator, the music therapist, the musicologist, the 'lay' musician, and the music researcher. The third part unfolds an ethical musicality focusing on the body, relationship, time, and space. Following these fundamental existentials, ethical musicality expands our lifeworld, including context, involvement, power, responsibility, sustainability, and hope. Such an ethical musicality meets us with a calling to humanity-offering hope of a 'good life'.
Denne teksten gjenspeiler deler av studien "Musikere og helse". Prosjektet er godkjent av Norsk S... more Denne teksten gjenspeiler deler av studien "Musikere og helse". Prosjektet er godkjent av Norsk Samfunnvitenskapelig Datatjeneste (NSD). En stor takk til informantene som deltok, og som gav sitt informerte samtykke. Takk også til Norges musikkhøgskole for forskningsstøtte studieåret 2008/2009, og til Musikernes Fellesorganisasjon (MFO) for velvillig distribusjon av invitasjon til deltakelse i prosjektet.
This effort is a part of the research project titled 'Musical Life Stories: Music as Health Perfo... more This effort is a part of the research project titled 'Musical Life Stories: Music as Health Performance'. The study has been approved by the Norwegian Social Science Data Services (NSD). My thanks go to the participant who gave her informed consent. I have chosen not to disclose the instrument in question, to help preserve the musician's anonymity.
This article presents and discusses a clinical music therapy protocol for use during an invasive ... more This article presents and discusses a clinical music therapy protocol for use during an invasive cardiac procedure and the theoretical rationale behind it. The protocol was developed for a specific invasive cardiac procedure performed transvenously with local anaesthesia: cardiac implantable electronic device lead extraction. The music listening intervention presented in the protocol aims to optimise stress and pain management for patients through patient involvement, communication, individualised music listening and relaxation techniques. The Music Therapist remains present throughout the peri-operative phase (in the operating theatre during the operation). The music is chosen from a limited set of prepared playlists through a process involving assessment and patient preference. Biological, psychological and social components are integrated into the protocol, which is also informed by the theory of music therapy as procedural support, the neuromatrix theory of pain and receptive music therapy techniques. The protocol was developed to be standardised for implementation into the existing medical procedure, yet flexible enough to meet individual patient needs. It is the cornerstone of the research protocol of an ongoing randomised controlled trial at the Department of Cardiology at Oslo University Hospital Ulleval. Results of the randomised controlled trial, focussing on quantitative efficacy outcomes, are expected in 2020.
This article describes a music therapy process with a 14-year-old girl I will call Sara, who had ... more This article describes a music therapy process with a 14-year-old girl I will call Sara, who had ceased talking for some years. Sara was an in-patient at a Centre for Child and Adolescent Psychiatry. During nine months of individual music therapy, Sara presented herself through improvised music and eventually an audible voice. In this article I argue that what I term relating experiences through music has contributed to strengthening Sara's ‘self-in-relation’ and given her space for increased autonomy. This allowed Sara to perceive herself in new ways, which led to a more permanent sense of her identity.
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