This issue of Voices contains an intriguing range of articles, about the humanizing potential of ... more This issue of Voices contains an intriguing range of articles, about the humanizing potential of music therapy in end of life care (Zoe Tao), sequential working memory recall in neurodivergent and neurotypical individuals (Edward Todd Schwartzberg & Michael J Silverman), the role of music listening in vibroacoustic treatment (Elsa Campbell, Birgitta Burger & Esa Ala-Ruona), the therapeutic value of recording in music therapy (Kevin Kirkland & Shannon Nesbitt), and proposed mechanisms of change in the arts-based psychotherapies (Anna Gerge, Jane Hawes, Lotti Eklöf & Inge Nygaard Pedersen). There is also a review of Elizabeth Schwartz, Sharon R. Boyle and Rebecca Engen’s Functional Voice Skills for Music Therapists (Sylka Uhlig) and – last but not least – there is a beautiful tribute to the life and work of Benedikte Scheiby (Seung-A Kim & Kenneth Aigen).
Taylor & Francis has a flexible approach to subscriptions enabling us to match individual librari... more Taylor & Francis has a flexible approach to subscriptions enabling us to match individual libraries' requirements. This journal is available via a traditional institutional subscription (either print with free online access, or onlineonly at a discount) or as part of the Behavioural Science subject package or Social Sciences, Arts and Humanities full text package. For more information on our sales packages please visit www.tandfonline.com/ librarians_pricinginfo_journals. All current institutional subscriptions include online access for any number of concurrent users across a local area network to the currently available backfile and articles posted online ahead of publication. Subscriptions purchased at the personal rate are strictly for personal, non-commercial use only. The reselling of personal subscriptions is prohibited. Personal subscriptions must be purchased with a personal cheque or credit card. Proof of personal status may be requested.
Professional CommunicationAigen, Ken (2003). A Guide to Writing &... more Professional CommunicationAigen, Ken (2003). A Guide to Writing & Presenting in Music Therapy. Gilsum, NH: Barcelona, Publishers (122 pages).Supportive Eclectic Music Therapy for Grief and LossBright, Ruth (2002). Supportive Eclectic Music Therapy for Grief and Loss. A Practical Handbook for Professionals. St. Louis: MMB Music, Inc.Receptive Music TherapyFrohne-Hagemann, Isabelle (Ed.) (2004). Rezeptive Musiktherapie: Theorie und Praxis [Receptive Music Therapy: Theory
Racially, I am Asian. I was born in Gimcheon, South Korea in 1963. I was raised in Seoul, South K... more Racially, I am Asian. I was born in Gimcheon, South Korea in 1963. I was raised in Seoul, South Korea, and moved to the United States when I was 23 years old, following in my parents' footsteps. Philadelphia became my family's new home in the US. I lived with my parents and siblings there for less than a year while attending Temple University and taking ESL courses. Soon after I moved, I married my husband in Philadelphia and together we moved to New York. I have lived in New York ever since. So, Philadelphia is a very special place to me. Not knowing what was beyond the borders of Korea for the majority of my life, I found that moving to America was a life-changing experience. During my early years in the US, I was quite taken aback by how diverse it was! I had come from a homogeneous society where unity is a virtue and where people not only have the same skin color and common physical characteristics, but also a similar style and appearance. For example, people often wear a similar style of clothing and wear similar hair styles. So, if you wore something different and unique, you would stand out, and people may look at you because of the way you stand out. Here in America, it is hardly found that the two individuals have the exact same style of hair or clothing, except on some special occasion such as Halloween. On the one hand, I was glad that I didn't need to spend a lot of time thinking about how to dress and following trends so that I could fit in. On the other hand, I felt isolated because no one seemed to care about how I looked. I also remember how interesting it was when I first went to a Toys "R" Us store. I saw all different skin colors of Barbie dolls. Later on, when my sons entered nursery school, they drew people with a peach color, which was quite different from what I drew when I was growing up. When I lived with my parents in Philadelphia, I also lived in a community where the majority of residents were African-American.
This comprehensive book describes well-defined models of music therapy for working with families ... more This comprehensive book describes well-defined models of music therapy for working with families in different clinical areas, ranging from families with special needs children or dying family members through to families in psychiatric or ...
It is our contention that musical cultural competence can be achieved only once music therapists ... more It is our contention that musical cultural competence can be achieved only once music therapists begin the process of transformational learning needed for more authentic self-awareness. This selfawareness forms the basis upon which musical cultural competence may be achieved. Musical cultural competence goes well beyond the idea of simply providing music from a client’s culture. It is about the roles of the particular music, its specific relevance to the client, and understanding the personal and musical cultural biases that the therapist brings into the music therapy context. In this article, we explore the notions that 1) both the client and the therapist bring a variety of cultural variables to the therapeutic relationship, and 2) cultural differences impact a person’s lived experience and influence all human interactions. We agree with the position that all counseling, all human interaction, is cross-cultural in nature, and that each person is a unique manifestation of his/her/zir culture. This process of working toward multicultural awareness, unlike the concept of achieving competencies, is ongoing and requires continual commitment and vigilance. A Look at Multicultural Themes in the Music Therapy Literature Over the past 50 years, there has been a steady increase in the music therapy literature on multicultural issues. In the mid-1960s, Flores (1966) and Moreno (1966) conducted master’s research focusing on musical preferences and musical behaviors, respectively, of Indigenous students. Twenty-two years later, Moreno (1988) published a seminal article on Multicultural Music Therapy in JMT. In this article, Moreno discussed ethnocentric tendencies of music therapists with respect to use of music, debunked the myth that music is a universal language, and urged music therapists to become familiar with music of representative world cultures such as traditional Indian classical music, Indonesian Gamelan music, and African drumming. Later, Kenny (2006[1994]), Toppozada (1995), Bradt (1997), Darrow and Molloy (1998), and Estrella (2001) explored multicultural perspectives in music therapy in terms of ethical concerns, education, clinical practice, and supervision in the United States. By the turn of the century, there was a movement toward culture being at the center of music therapy practice (Brown, 2002; Ruud, 1998; Stige, 2002). Regarding multicultural competence, Brown (2002) stressed the different skill levels necessary for working within a culturally responsive framework. She delineated first-order skills as the “ability to communicate culturally, effectively and sensitively within the therapeutic relationship” (n.p.). Furthermore, she delineated second-order skills as “higher order skills with emphasis on the ability to appropriately apply therapeutic interventions within the cultural context” (n.p.). These skills include gaining understandings of health and therapy as well as understandings of different musics and their functions or roles in the culture. These firstand secondorder skills, like those in many allied health professions, focus on “attitudinal and trait-based characteristics on three dimensions: counselor [therapist] beliefs and attitudes, knowledge, and skills” (Vera & Speight, 2003, p. 255). Since the early 2000s, it has become increasingly popular to bring diversity issues into the discussion of music therapy practice and research. The range of multicultural topics covered in the music therapy literature has continued to expand (Kim & Whitehead-Pleaux, 2015; Whitehead-Pleaux et al., 2012), and a greater stress has been placed on the importance of music therapists gaining competence in both multicultural counseling (Chase 2003a, b) and multicultural musicking. The main themes that are found in the music therapy literature focused on multicultural issues are that music is not a universal language; that music therapists tend to be ethnocentric with respect to use of music and therapy; that it is important that we gain knowledge of the meaning of music (and imagery) in different cultures; and that it is important for music therapists to be able to apply some basic musical concepts from different cultures. The general consensus is that we need to focus more on multicultural training and multicultural supervision (Ahessy, 2011; Shapiro, 2005; Young, 2009), that we need more multicultural research, and that we need more resources and information about multicultural music therapy. While there has been an increase in focus on multicultural issues in the music therapy literature, there has been little in the way of specific strategies for achieving these competencies. This special issue on musical cultural competence in music therapy focuses specifically on these intersecting themes/discussions. Cultural Competencies and Ethical Codes in Music Therapy In the United States, the cultural competencies outlined for music therapists are (a) to demonstrate awareness of one’s cultural identity and…
This article describes Creative Music Therapy and Analytical Music Therapy and examines the philo... more This article describes Creative Music Therapy and Analytical Music Therapy and examines the philosophical premises underlying each model of improvisational music therapy. Comparisons are made in terms of what constitutes health or wellness and pathology (intrapersonal, interpersonal and transpersonal) and dynamics of therapy (focus, role of music, client-therapist relationship and client-music relationship). This comparative analysis proposes that these two models of improvisational music therapy represent distinctly different paradigms. It is argued that each model works with different premises about the individual and the goal of therapy. Furthermore, each places a different emphasis on the role of music in therapy. (author abstract)
This issue of Voices contains an intriguing range of articles, about the humanizing potential of ... more This issue of Voices contains an intriguing range of articles, about the humanizing potential of music therapy in end of life care (Zoe Tao), sequential working memory recall in neurodivergent and neurotypical individuals (Edward Todd Schwartzberg & Michael J Silverman), the role of music listening in vibroacoustic treatment (Elsa Campbell, Birgitta Burger & Esa Ala-Ruona), the therapeutic value of recording in music therapy (Kevin Kirkland & Shannon Nesbitt), and proposed mechanisms of change in the arts-based psychotherapies (Anna Gerge, Jane Hawes, Lotti Eklöf & Inge Nygaard Pedersen). There is also a review of Elizabeth Schwartz, Sharon R. Boyle and Rebecca Engen’s Functional Voice Skills for Music Therapists (Sylka Uhlig) and – last but not least – there is a beautiful tribute to the life and work of Benedikte Scheiby (Seung-A Kim & Kenneth Aigen).
Taylor & Francis has a flexible approach to subscriptions enabling us to match individual librari... more Taylor & Francis has a flexible approach to subscriptions enabling us to match individual libraries' requirements. This journal is available via a traditional institutional subscription (either print with free online access, or onlineonly at a discount) or as part of the Behavioural Science subject package or Social Sciences, Arts and Humanities full text package. For more information on our sales packages please visit www.tandfonline.com/ librarians_pricinginfo_journals. All current institutional subscriptions include online access for any number of concurrent users across a local area network to the currently available backfile and articles posted online ahead of publication. Subscriptions purchased at the personal rate are strictly for personal, non-commercial use only. The reselling of personal subscriptions is prohibited. Personal subscriptions must be purchased with a personal cheque or credit card. Proof of personal status may be requested.
Professional CommunicationAigen, Ken (2003). A Guide to Writing &... more Professional CommunicationAigen, Ken (2003). A Guide to Writing & Presenting in Music Therapy. Gilsum, NH: Barcelona, Publishers (122 pages).Supportive Eclectic Music Therapy for Grief and LossBright, Ruth (2002). Supportive Eclectic Music Therapy for Grief and Loss. A Practical Handbook for Professionals. St. Louis: MMB Music, Inc.Receptive Music TherapyFrohne-Hagemann, Isabelle (Ed.) (2004). Rezeptive Musiktherapie: Theorie und Praxis [Receptive Music Therapy: Theory
Racially, I am Asian. I was born in Gimcheon, South Korea in 1963. I was raised in Seoul, South K... more Racially, I am Asian. I was born in Gimcheon, South Korea in 1963. I was raised in Seoul, South Korea, and moved to the United States when I was 23 years old, following in my parents' footsteps. Philadelphia became my family's new home in the US. I lived with my parents and siblings there for less than a year while attending Temple University and taking ESL courses. Soon after I moved, I married my husband in Philadelphia and together we moved to New York. I have lived in New York ever since. So, Philadelphia is a very special place to me. Not knowing what was beyond the borders of Korea for the majority of my life, I found that moving to America was a life-changing experience. During my early years in the US, I was quite taken aback by how diverse it was! I had come from a homogeneous society where unity is a virtue and where people not only have the same skin color and common physical characteristics, but also a similar style and appearance. For example, people often wear a similar style of clothing and wear similar hair styles. So, if you wore something different and unique, you would stand out, and people may look at you because of the way you stand out. Here in America, it is hardly found that the two individuals have the exact same style of hair or clothing, except on some special occasion such as Halloween. On the one hand, I was glad that I didn't need to spend a lot of time thinking about how to dress and following trends so that I could fit in. On the other hand, I felt isolated because no one seemed to care about how I looked. I also remember how interesting it was when I first went to a Toys "R" Us store. I saw all different skin colors of Barbie dolls. Later on, when my sons entered nursery school, they drew people with a peach color, which was quite different from what I drew when I was growing up. When I lived with my parents in Philadelphia, I also lived in a community where the majority of residents were African-American.
This comprehensive book describes well-defined models of music therapy for working with families ... more This comprehensive book describes well-defined models of music therapy for working with families in different clinical areas, ranging from families with special needs children or dying family members through to families in psychiatric or ...
It is our contention that musical cultural competence can be achieved only once music therapists ... more It is our contention that musical cultural competence can be achieved only once music therapists begin the process of transformational learning needed for more authentic self-awareness. This selfawareness forms the basis upon which musical cultural competence may be achieved. Musical cultural competence goes well beyond the idea of simply providing music from a client’s culture. It is about the roles of the particular music, its specific relevance to the client, and understanding the personal and musical cultural biases that the therapist brings into the music therapy context. In this article, we explore the notions that 1) both the client and the therapist bring a variety of cultural variables to the therapeutic relationship, and 2) cultural differences impact a person’s lived experience and influence all human interactions. We agree with the position that all counseling, all human interaction, is cross-cultural in nature, and that each person is a unique manifestation of his/her/zir culture. This process of working toward multicultural awareness, unlike the concept of achieving competencies, is ongoing and requires continual commitment and vigilance. A Look at Multicultural Themes in the Music Therapy Literature Over the past 50 years, there has been a steady increase in the music therapy literature on multicultural issues. In the mid-1960s, Flores (1966) and Moreno (1966) conducted master’s research focusing on musical preferences and musical behaviors, respectively, of Indigenous students. Twenty-two years later, Moreno (1988) published a seminal article on Multicultural Music Therapy in JMT. In this article, Moreno discussed ethnocentric tendencies of music therapists with respect to use of music, debunked the myth that music is a universal language, and urged music therapists to become familiar with music of representative world cultures such as traditional Indian classical music, Indonesian Gamelan music, and African drumming. Later, Kenny (2006[1994]), Toppozada (1995), Bradt (1997), Darrow and Molloy (1998), and Estrella (2001) explored multicultural perspectives in music therapy in terms of ethical concerns, education, clinical practice, and supervision in the United States. By the turn of the century, there was a movement toward culture being at the center of music therapy practice (Brown, 2002; Ruud, 1998; Stige, 2002). Regarding multicultural competence, Brown (2002) stressed the different skill levels necessary for working within a culturally responsive framework. She delineated first-order skills as the “ability to communicate culturally, effectively and sensitively within the therapeutic relationship” (n.p.). Furthermore, she delineated second-order skills as “higher order skills with emphasis on the ability to appropriately apply therapeutic interventions within the cultural context” (n.p.). These skills include gaining understandings of health and therapy as well as understandings of different musics and their functions or roles in the culture. These firstand secondorder skills, like those in many allied health professions, focus on “attitudinal and trait-based characteristics on three dimensions: counselor [therapist] beliefs and attitudes, knowledge, and skills” (Vera & Speight, 2003, p. 255). Since the early 2000s, it has become increasingly popular to bring diversity issues into the discussion of music therapy practice and research. The range of multicultural topics covered in the music therapy literature has continued to expand (Kim & Whitehead-Pleaux, 2015; Whitehead-Pleaux et al., 2012), and a greater stress has been placed on the importance of music therapists gaining competence in both multicultural counseling (Chase 2003a, b) and multicultural musicking. The main themes that are found in the music therapy literature focused on multicultural issues are that music is not a universal language; that music therapists tend to be ethnocentric with respect to use of music and therapy; that it is important that we gain knowledge of the meaning of music (and imagery) in different cultures; and that it is important for music therapists to be able to apply some basic musical concepts from different cultures. The general consensus is that we need to focus more on multicultural training and multicultural supervision (Ahessy, 2011; Shapiro, 2005; Young, 2009), that we need more multicultural research, and that we need more resources and information about multicultural music therapy. While there has been an increase in focus on multicultural issues in the music therapy literature, there has been little in the way of specific strategies for achieving these competencies. This special issue on musical cultural competence in music therapy focuses specifically on these intersecting themes/discussions. Cultural Competencies and Ethical Codes in Music Therapy In the United States, the cultural competencies outlined for music therapists are (a) to demonstrate awareness of one’s cultural identity and…
This article describes Creative Music Therapy and Analytical Music Therapy and examines the philo... more This article describes Creative Music Therapy and Analytical Music Therapy and examines the philosophical premises underlying each model of improvisational music therapy. Comparisons are made in terms of what constitutes health or wellness and pathology (intrapersonal, interpersonal and transpersonal) and dynamics of therapy (focus, role of music, client-therapist relationship and client-music relationship). This comparative analysis proposes that these two models of improvisational music therapy represent distinctly different paradigms. It is argued that each model works with different premises about the individual and the goal of therapy. Furthermore, each places a different emphasis on the role of music in therapy. (author abstract)
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