Proceedings, Oxford, UK (2002) - World Federation of Music Therapy

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Cartocci, Alessandra 301 Caruso, Carlos 321 Cominardi, Carlo 336 Compton Dickinson, Stella 341 Crowe, Barbara 390 D’Ulisse, E. 423 D’Ulisse, E. 450 Edwards, Jane 1 Elefant, C. 458 Elefant, C. 474 Emerenziana, M. 432 Fachner, J. 488 Fachner, J. 889 Fearn, MC 514 Federico, G. 530 Ferrara, C. 423 Ferrara, C. 432 Ferrara, C. 450 Fischer, R. G. 547 Forrest, L. 569 Forrest, L. 583 Forrest, L. 602 Gaertner, M. 627 Gaggero, G. 638 Gagliardo, Guiseppe 1677
Gallicchio, M.E.S. S. 664 Giovanna Artale 50 Gold, C. 687 Grusovin, A. 688 Hairo, U. 704 Hakvoort, L. 723 Hasler, J. 745 Hess, S. J. 767 Hildred, Mark 1007 Hillecke, Thomas 1138 Hillecke, Thomas 225 H<strong>of</strong>fmann, P. 790 H<strong>of</strong>fmann, P. 889 Holck, U. 812 Horesh, T. 826 Hoskyns, Sarah 209 Hughes, H. 846 Hughes, M. H. 1618 Hunt, Andy 1007 Inada, M. 872 Janssen, W. 889 Katz, Simona 934 Kern, Petra 960 Kim, Jinah 981 Kirk, R. 1007
Page 2: Dialogue and Debate - Conference Pr
Page 5 and 6: Baumann, Monika 119 Music Therapy a
Page 7 and 8: Fearn, Mary-Clare and O’Connor, R
Page 9 and 10: Katz, Simona 934 A Song For You: In
Page 11 and 12: Reher, M. 1400 Communicating throug
Page 13 and 14: Experiential Training In Music Ther
Page 15: Author Index Abad, Vicky 1 Abad, Vi
Page 19 and 20: Plahl, Christine 1312 Polcaro, F. 4
Page 21 and 22: Introduction by Leslie Bunt It is a
Page 23 and 24: main areas that appeared to be cent
Page 25 and 26: choice of speaker for the keynote a
Page 27 and 28: Sing & Grow: A New Music Therapy In
Page 29 and 30: history of psychiatric disorder (Si
Page 31 and 32: programme offered an opportunity fo
Page 33 and 34: circle formation and participate in
Page 35 and 36: O'Connor, T., Heron, J., Golding, J
Page 37 and 38: illness often occurs as the result
Page 39 and 40: Roberts et al., 1998). However, it
Page 41 and 42: adolescents. Using music as a mediu
Page 43 and 44: she sang. Jane appeared excited and
Page 45 and 46: Robb (2000) reported that music ass
Page 47 and 48: Learning an instrument provides a m
Page 49 and 50: We can help by providing psychosoci
Page 51 and 52: Lefebvre, C. (1991). All her yester
Page 53 and 54: Novel methodology in psychodynamic
Page 55 and 56: Sarah was characterised by a pierci
Page 57 and 58: would appear to have succumbed to l
Page 59 and 60: A number of methods were used in or
Page 61 and 62: Jenny even seemed to have been usin
Page 63 and 64: Then the group will experience clea
Page 65 and 66: playing with foot-beatings, in orde
Page 67 and 68:
During the moment of her belch, Sar
Page 69 and 70:
a number of times. This means that
Page 71 and 72:
important change was that in Decemb
Page 73 and 74:
develop the necessary music therapy
Page 75 and 76:
Published also (1988) in Envy and G
Page 77 and 78:
We herein present two case studies
Page 79 and 80:
communication as a continuous recip
Page 81 and 82:
level, in order to examine the vari
Page 83 and 84:
4.3 Organisational structure of the
Page 85 and 86:
application of the method. The “l
Page 87 and 88:
Prior to the start of the cycle of
Page 89 and 90:
Table 1 Codifica Incontri Di Musico
Page 91 and 92:
Table 2 Detailed Description Of Beh
Page 93 and 94:
Table 3 DESCRIZIONE DETTAGLIATA INC
Page 95 and 96:
Symmetrical category The category i
Page 97 and 98:
The attempt to establish a mutual i
Page 99 and 100:
choice of the number of sessions pl
Page 101 and 102:
Von Neumann, J. (1958). The Compute
Page 103 and 104:
The primary diagnostic criteria for
Page 105 and 106:
integration is typically addressed
Page 107 and 108:
music: rhythm, melody, harmony, dyn
Page 109 and 110:
A child with significant dysfunctio
Page 111 and 112:
Table 4 Adaptations for Music Thera
Page 113 and 114:
Improvisation techniques provided M
Page 115 and 116:
Instrument-based exercises have als
Page 117 and 118:
therapists can either use the tenan
Page 119 and 120:
Acts Of Interpretation: An Investig
Page 121 and 122:
• How do music therapists listen
Page 123 and 124:
more. In sessions, there are multip
Page 125 and 126:
(1) What am I listening for in our
Page 127 and 128:
cerebral palsy who has lived in ins
Page 129 and 130:
6. Ibid, p246 Becoming a profession
Page 131 and 132:
through the National Health Service
Page 133 and 134:
profession has established training
Page 135 and 136:
15. 1Ibid, p45 professional work be
Page 137 and 138:
co-developed.’ As already mention
Page 139 and 140:
By joining the NHS the music therap
Page 141 and 142:
or may need palliative care. These
Page 143 and 144:
music therapy profession relinquish
Page 145 and 146:
Limitations and Open Spaces: Music
Page 147 and 148:
experiment, perhaps to discover som
Page 149 and 150:
and had very much enjoyed dancing I
Page 151 and 152:
Singing or humming in time with the
Page 153 and 154:
communicate through speech. Singing
Page 155 and 156:
Lack of drive Restricted expressive
Page 157 and 158:
Watch this extract from the second
Page 159 and 160:
Music Therapy and Narrative: Integr
Page 161 and 162:
Life review work is a good starting
Page 163 and 164:
that of becoming an active agent. T
Page 165 and 166:
our role as music and narrative the
Page 167 and 168:
level. I have chosen to use Amir’
Page 169 and 170:
• These are moments when difficul
Page 171 and 172:
styles. Often people in this work p
Page 173 and 174:
often people are generally pleased
Page 175 and 176:
within the oral history and musical
Page 177 and 178:
schools”. (Pg. 5, Micozzi). It is
Page 179 and 180:
Aldridge, D. (1999). Music therapy
Page 181 and 182:
months. The first interruption occu
Page 183 and 184:
patterns transmitted by the mass me
Page 185 and 186:
its culture. From this period on hu
Page 187 and 188:
Ruud’s terminology ), as if they
Page 189 and 190:
human development and spontaneity m
Page 191 and 192:
some notes because of the exercises
Page 193 and 194:
him improve his knowledge of differ
Page 195 and 196:
And went to the sea The fish has ea
Page 197 and 198:
Cascudo a lot of different populati
Page 199 and 200:
to be intelligent and wants to be c
Page 201 and 202:
Beside God Our Father, I shall alwa
Page 203 and 204:
Maslow, Abraham (2000).El Hombre Au
Page 205 and 206:
elationship with someone, as client
Page 207 and 208:
2. The process: The termination eve
Page 209 and 210:
Respondents' work experience : Resp
Page 211 and 212:
discussing clients' progress with f
Page 213 and 214:
• Other staff may not recognise p
Page 215 and 216:
How many sessions? Responses varied
Page 217 and 218:
* how therapeutic development may c
Page 219 and 220:
For some, negative responses includ
Page 221 and 222:
Music Therapy Perspectives 12(1) 20
Page 223 and 224:
Music Therapy-Assisted Childbirth:
Page 225 and 226:
The Mind-Body Connection The common
Page 227 and 228:
Doulas work from the waist up. That
Page 229 and 230:
unsuspecting woman in labour can ad
Page 231 and 232:
• Instrumental music lends itself
Page 233 and 234:
conditioned response to the music.
Page 235 and 236:
The Four Essential I's of Music The
Page 237 and 238:
We were rather delighted to discove
Page 239 and 240:
Auden made the distinction between
Page 241 and 242:
Imagination’). As in the case of
Page 243 and 244:
Intuition is therefore not only a s
Page 245 and 246:
By exploring and reflecting, the us
Page 247 and 248:
knowing; and what is thus jointly d
Page 249 and 250:
a balance of: using models from our
Page 251 and 252:
Flexible Tempo Performance as Indic
Page 253 and 254:
that pain patients often show a ver
Page 255 and 256:
For Todd (1992) musical motion does
Page 257 and 258:
(sex: 14 female; age: 53.3 +/-8.9).
Page 259 and 260:
4.2 Tempo Flexibility Test To exami
Page 261 and 262:
conclude from this measure whether
Page 263 and 264:
Figure 1 Therapy Outcome (3 tests o
Page 265 and 266:
Figure 4 Expressiveness (3 tests of
Page 267 and 268:
Figure 7 Interpersonal Problems of
Page 269 and 270:
Figure 10Musical Measure Tempo Fit
Page 271 and 272:
8. References Auhagen, W. & Busch,
Page 273 and 274:
Weisberg, J. N. & Keefe, F. J. (199
Page 275 and 276:
In the Music Therapy session the el
Page 277 and 278:
In group work, wide use of “ostin
Page 279 and 280:
verbal communication. To summarise,
Page 281 and 282:
The time dedicated to improvisation
Page 283 and 284:
understanding of the handicap (and
Page 285 and 286:
movement. Repetition in this case t
Page 287 and 288:
that do not allow him to effectivel
Page 289 and 290:
of sounds already familiar to him (
Page 291 and 292:
Figure 11Music Excerpt #1 and #2 In
Page 293 and 294:
From the beginning I found staff ex
Page 295 and 296:
teaching abilities of others as the
Page 297 and 298:
sometimes respond to institutional
Page 299 and 300:
knowingly or unknowingly, metaphori
Page 301 and 302:
verbal interventions with loud, dra
Page 303 and 304:
Holocaust Resource Coordinator for
Page 305 and 306:
Figure 14Musical Example 3 279
Page 307 and 308:
Playing our part; the role of a mus
Page 309 and 310:
nothing published on the subject of
Page 311 and 312:
weeks, our work could be described
Page 313 and 314:
they have been given something they
Page 315 and 316:
In some cases, children who present
Page 317 and 318:
speak very little throughout the gr
Page 319 and 320:
• An observation that a child who
Page 321 and 322:
eing more varied. In the “guitar
Page 323 and 324:
Impulsiveness • Does s/he find it
Page 325 and 326:
References Carter, E., & Oldfield,
Page 327 and 328:
Musicians And Anxiety - A Music The
Page 329 and 330:
audience, and I was almost on the v
Page 331 and 332:
Sprezzatura - is the balancing prin
Page 333 and 334:
creativity, very often, troubles be
Page 335 and 336:
the one who helps music to reach pe
Page 337 and 338:
element. It can help the artist to
Page 339 and 340:
creative imagery, (colours, shapes,
Page 341 and 342:
The quality of the musical relation
Page 343 and 344:
At the first meeting, they imediate
Page 345 and 346:
I’ve just underlined can be usefu
Page 347 and 348:
The Candombe And Its Relation With
Page 349 and 350:
happens! My GP told me: “you are
Page 351 and 352:
elaxed at any moment. His face stat
Page 353 and 354:
His father was absent all day long,
Page 355 and 356:
The first track on side A he record
Page 357 and 358:
demonstrated throughout our work wh
Page 359 and 360:
like verbalised, being able to say
Page 361 and 362:
• President of "Art and Psychiatr
Page 363 and 364:
At the same time we communicate wit
Page 365 and 366:
spoken language is often altered, n
Page 367 and 368:
A Case Study: demonstrating how the
Page 369 and 370:
Jacob’s early verbal development
Page 371 and 372:
Paronoid schizophrenia: The consult
Page 373 and 374:
distinguishing between maximum pers
Page 375 and 376:
him and perhaps also gave us a poin
Page 377 and 378:
understand the experience as a coun
Page 379 and 380:
details so I will focus on aspects
Page 381 and 382:
concept was valuable in understandi
Page 383 and 384:
an agent of it. In health it is imb
Page 385 and 386:
to them as twins. I suggested that
Page 387 and 388:
.Jacob continued to present with ps
Page 389 and 390:
accept comfort, gradually Jacob cat
Page 391 and 392:
good object according to Klein is d
Page 393 and 394:
when strong leads to a sense of no
Page 395 and 396:
and let me play at the piano!” Hi
Page 397 and 398:
condition, though it transpires tha
Page 399 and 400:
progress from the regressed state.
Page 401 and 402:
which is to be held. Balint believe
Page 403 and 404:
y saying he was frightened, we play
Page 405 and 406:
esponse to a strong counter transfe
Page 407 and 408:
Chapter 5 The ending. I learnt that
Page 409 and 410:
When regression occurred, the nurse
Page 411 and 412:
not to have taken place as chronolo
Page 413 and 414:
hythm which is going on continually
Page 415 and 416:
Vygotsky, L.S.(1978) Mind on Societ
Page 417 and 418:
value? What about the confused, agi
Page 419 and 420:
considered. In scientific method, t
Page 421 and 422:
Deterministic Chaos Chaos theory ex
Page 423 and 424:
movement. This is deterministic cha
Page 425 and 426:
that small factors can have on larg
Page 427 and 428:
Like all dynamical systems, music m
Page 429 and 430:
the meaning found in natural sounds
Page 431 and 432:
of complexity science, health impli
Page 433 and 434:
never prove what factor in the musi
Page 435 and 436:
will demonstrate relationships betw
Page 437 and 438:
Taylor, D. (1997). Biomedical found
Page 439 and 440:
Among these, CUNHA believes (1998,
Page 441 and 442:
in gestation, start participating a
Page 443 and 444:
• 83% had finished primary school
Page 445 and 446:
eings in order to produce therapeut
Page 447 and 448:
BENENZON, Rolando. Teoria da Musico
Page 449 and 450:
The case of “L” - Music-Therapy
Page 451 and 452:
When L. arrived at the hospital aft
Page 453 and 454:
On this subject, we should point ou
Page 455 and 456:
At this point, we feel it is import
Page 457 and 458:
Benenzon R., (1992) Manuale di Musi
Page 459 and 460:
The Association provides a range of
Page 461 and 462:
family homes, psychiatric communiti
Page 463 and 464:
must be innocuous - not giving rise
Page 465 and 466:
Burchi, Balzan, idem). Our task is
Page 467 and 468:
structured characteristics which th
Page 469 and 470:
In the via Colautti Centre, the ser
Page 471 and 472:
On average, a course of treatment c
Page 473 and 474:
Figure 17 Patients treated with MT
Page 475 and 476:
Bibliography Altshuler I., (1943)Fo
Page 477 and 478:
normal, healthy abilities. To achie
Page 479 and 480:
defined characteristics: it should
Page 481 and 482:
ehabilitation centres, we provide a
Page 483 and 484:
Bibliography Benenzon R.O. (1997) L
Page 485 and 486:
Previous research about their commu
Page 487 and 488:
Song preference: Here are all 18 so
Page 489 and 490:
The 18 songs used in this research
Page 491 and 492:
One suggestion for this is that the
Page 493 and 494:
Melodic contour is an important fea
Page 495 and 496:
Meaning was incorporated into the e
Page 497 and 498:
Least Preferred songs: The girls de
Page 499 and 500:
give ample space and time for the g
Page 501 and 502:
• Serves as a bridge between the
Page 503 and 504:
A short girl experienced unpleasant
Page 505 and 506:
In the course of the years of this
Page 507 and 508:
• At this stage the main factors
Page 509 and 510:
Their method of expressing intimacy
Page 511 and 512:
The typical children remind themsel
Page 513 and 514:
The staff and parents • The staff
Page 515 and 516:
for prescription and recommendation
Page 517 and 518:
sour fast on their instruments, the
Page 519 and 520:
Anslinger obviously used the negati
Page 521 and 522:
1972; Eagle, 1972). One research pr
Page 523 and 524:
1985). Patients with a history of d
Page 525 and 526:
The term “hot” coined in this c
Page 527 and 528:
exciting and feels like only a few
Page 529 and 530:
swing musician ascends new peaks of
Page 531 and 532:
Conclusion It is a goal for active
Page 533 and 534:
pharmacological action of cannabis
Page 535 and 536:
Böhm, T. (1999). Was ist Psychedel
Page 537 and 538:
Julien, R. M. (1997). Drogen und Ps
Page 539 and 540:
Wise, R. A., & Bozarth, M. A. (1985
Page 541 and 542:
• The roles of Therapists within
Page 543 and 544:
Following the assessment the lead t
Page 545 and 546:
counter-transference that existed i
Page 547 and 548:
“rescue” him from situations th
Page 549 and 550:
meeting prior to therapy commencing
Page 551 and 552:
instruments. For example, there was
Page 553 and 554:
move. For example, in group session
Page 555 and 556:
setting up music therapy department
Page 557 and 558:
the fact of wearing heavier clothes
Page 559 and 560:
commercializes this product, applyi
Page 561 and 562:
alert. When they are walking in the
Page 563 and 564:
time mother and who has not had any
Page 565 and 566:
larynx. All these sounds are audibl
Page 567 and 568:
vitality and they help us to discov
Page 569 and 570:
If we try to outline what the main
Page 571 and 572:
Federico, Gabriel (1999), Music The
Page 573 and 574:
Aesthetic Music Therapy with a Youn
Page 575 and 576:
Figure 21 The best way to trace the
Page 577 and 578:
symptomatic of his condition. Altho
Page 579 and 580:
Figure 22 Figure 23 illustrates the
Page 581 and 582:
fairly typical session, (he had alr
Page 583 and 584:
Figure 25 557
Page 585 and 586:
can see from Figure 26 at the very
Page 587 and 588:
Once J. realized what he could do a
Page 589 and 590:
using the whole-tone scale, somethi
Page 591 and 592:
In another session J. made it clear
Page 593 and 594:
In conclusion, there is only one th
Page 595 and 596:
“Help me find my voice again”:
Page 597 and 598:
The age of the bereaved Bright (199
Page 599 and 600:
necessarily allow us the time to pr
Page 601 and 602:
Responses to Grief and Bereavement:
Page 603 and 604:
eflection within an experience of g
Page 605 and 606:
and explore the feelings associated
Page 607 and 608:
Beresford, S. (1995). Motor Neurone
Page 609 and 610:
Using Music Therapy in the Symptom
Page 611 and 612:
• Progressive Muscular Atrophy (P
Page 613 and 614:
A Multi-disciplinary Approach to th
Page 615 and 616:
Music that is significant and meani
Page 617 and 618:
and Dworkin, 1989). However, it is
Page 619 and 620:
song writing may also provide oppor
Page 621 and 622:
Beresford, S. (1995). Motor Neurone
Page 623 and 624:
Music Therapy in Palliative Care: N
Page 625 and 626:
Oxtoby, M. and Eikaas, M. (1993). M
Page 627 and 628:
West, T.M. (1994). Psychological is
Page 629 and 630:
of migrants and refugees (Reyes Sch
Page 631 and 632:
esearch lies in “the study of mus
Page 633 and 634:
therapist to interpret a client’s
Page 635 and 636:
Are Herskovit’s (1948) and Merria
Page 637 and 638:
• Instruments as symbols of ident
Page 639 and 640:
meaning and symbolism of the musica
Page 641 and 642:
using particular music therapy meth
Page 643 and 644:
so that the seeking of professional
Page 645 and 646:
introduction of new technology and
Page 647 and 648:
professional, and the changing soci
Page 649 and 650:
address the needs of an increasingl
Page 651 and 652:
Forrest, L.C. (2000). Addressing is
Page 653 and 654:
Music Therapy With Autistic Childre
Page 655 and 656:
anyone and everyone with learning d
Page 657 and 658:
feet, as some children came downsta
Page 659 and 660:
The following Saturday whilst prepa
Page 661 and 662:
most unreachable moods, were lured
Page 663 and 664:
Address May GAERTNER 91 Rue Jacques
Page 665 and 666:
phenomenological philosophy’s tea
Page 667 and 668:
dialogue in a session of music ther
Page 669 and 670:
voices, it is quite difficult to at
Page 671 and 672:
and reflecting on the meaning of ps
Page 673 and 674:
future (which can no longer be perc
Page 675 and 676:
In this perspective it becomes clea
Page 677 and 678:
as “filling stations” of that s
Page 679 and 680:
“mask”, of one of the specific
Page 681 and 682:
Temporality and the Senex /Puer arc
Page 683 and 684:
time, to a certain extent, they are
Page 685 and 686:
Binswanger L. (1956) Drei Formen Mi
Page 687 and 688:
Jankélévitch V. (1949) Debussy et
Page 689 and 690:
He has published articles of philos
Page 691 and 692:
state with the support of Dr. Déli
Page 693 and 694:
OBJECTIVES: The prime objective is:
Page 695 and 696:
• E - neutral disposition state
Page 697 and 698:
In the MT room, as well as in the I
Page 699 and 700:
Then I prepare the child’s histor
Page 701 and 702:
passed to the acceptance phase, acc
Page 703 and 704:
I notice that in general the childr
Page 705 and 706:
demonstrates with his/her sounds, t
Page 707 and 708:
hours before his death, when in bet
Page 709 and 710:
BARCELLOS, Lia R. Atividades realiz
Page 711 and 712:
_________.História e Significado d
Page 713 and 714:
Does Size Matter?? ?Why effect size
Page 715 and 716:
the player, which enables the feeli
Page 717 and 718:
At this point I avoid adding the op
Page 719 and 720:
there was an alternation between mo
Page 721 and 722:
“Playing means doing”. “It is
Page 723 and 724:
MODULATED “DUCK” SOUNDS LEITMOT
Page 725 and 726:
This phase is necessary for bringin
Page 727 and 728:
The following expression of the par
Page 729 and 730:
I hope that the memory of this meet
Page 731 and 732:
The study took place within five ce
Page 733 and 734:
case, the qualitative approach was
Page 735 and 736:
needed. Along with coding, an “in
Page 737 and 738:
Working methods Improvisation and o
Page 739 and 740:
listening to enliven imagination. F
Page 741 and 742:
were music, vibration of sound and
Page 743 and 744:
in therapy was to release tension;
Page 745 and 746:
Sirpa felt that her ability to expr
Page 747 and 748:
others who are attempting to stop d
Page 749 and 750:
Observation and treatment criteria
Page 751 and 752:
positioning, action, improvisation,
Page 753 and 754:
two or three sessions, because musi
Page 755 and 756:
Example: Assessment of overt behavi
Page 757 and 758:
Example: habitual behavior Patient
Page 759 and 760:
• Self-esteem and self-concept: H
Page 761 and 762:
Design of the program Introduction
Page 763 and 764:
clearly observable problem or limit
Page 765 and 766:
III. Dalcroze assignment This assig
Page 767 and 768:
and it contains those aspects that
Page 769 and 770:
plan of what and how he will practi
Page 771 and 772:
‘When The Bough Breaks’ - Music
Page 773 and 774:
may be therefore that some of what
Page 775 and 776:
A child may suffer post-traumatic s
Page 777 and 778:
control. This can become convincing
Page 779 and 780:
protect him from harm, to take a ne
Page 781 and 782:
child. The children range in age fr
Page 783 and 784:
• To challenge the negative cycle
Page 785 and 786:
feelings through story and fantasy
Page 787 and 788:
all join Joshua on his planet and t
Page 789 and 790:
family to co-exist never mind opera
Page 791 and 792:
Conclusion Music Therapists who wor
Page 793 and 794:
A Force of Nature: Complementary Th
Page 795 and 796:
I have come to understand that the
Page 797 and 798:
Figure 30 Illness/Wellness Continuu
Page 799 and 800:
with concepts such as “physiologi
Page 801 and 802:
provides a unique perspective that
Page 803 and 804:
each of the Five Elements that is b
Page 805 and 806:
programming, and documentation. In
Page 807 and 808:
The Five Elements in Music In worki
Page 809 and 810:
pieces that generally express eleme
Page 811 and 812:
Earth Using hand drums, play in due
Page 813 and 814:
Play the Day In a group, take time
Page 815 and 816:
Hess, S. J. (1998) Exploring the Us
Page 817 and 818:
Phrasing is a musical activity of s
Page 819 and 820:
In the second part I tried to prove
Page 821 and 822:
activity as static, as non directed
Page 823 and 824:
The next episode comes from the sam
Page 825 and 826:
I completed this kind of subjective
Page 827 and 828:
Table 10 Valuation: unphrased playi
Page 829 and 830:
Krause, Lerch und Raith 1985; Telle
Page 831 and 832:
Episode mod e of play No. A CA CB B
Page 833 and 834:
= own classification Table 14 Inqui
Page 835 and 836:
Ansdell, G. (1995): Music for Life.
Page 837 and 838:
peterh@uni-wh.de 811
Page 839 and 840:
interviews and tests in these same
Page 841 and 842:
pragmatic codes can be used (Little
Page 843 and 844:
therapist's actions are connected t
Page 845 and 846:
hythm.The boy interrupts the interp
Page 847 and 848:
few seconds, she plays a little cal
Page 849 and 850:
cues and 3) can gradually develop i
Page 851 and 852:
Knapp, M. L. & Hall, J. A. (1992).
Page 853 and 854:
The sirens, actually, sang "dangero
Page 855 and 856:
something that will enhance their e
Page 857 and 858:
into sleep and energizes them on wa
Page 859 and 860:
• Young immigrants prefer heavy m
Page 861 and 862:
giving voice to the themes and musi
Page 863 and 864:
overwhelming flood of emotional mem
Page 865 and 866:
Orpheus, known for his creative, mu
Page 867 and 868:
in order to stabilize the rhythm, f
Page 869 and 870:
The garmoshka player was a young ma
Page 871 and 872:
potential to heal. By assisting add
Page 873 and 874:
they are personal to me, and there
Page 875 and 876:
with us even when we know that they
Page 877 and 878:
it is inevitable that they will be
Page 879 and 880:
words. Other therapists may encoura
Page 881 and 882:
until there is no change, and this
Page 883 and 884:
Figure 35 Closer in music than word
Page 885 and 886:
Figure 37 Graph - As close in words
Page 887 and 888:
Figure 39 Graph - Closer in words A
Page 889 and 890:
Figure 40 The best place is closer
Page 891 and 892:
Figure 42 The best place is equally
Page 893 and 894:
where the client needs to ‘jump
Page 895 and 896:
CONCLUSIONS This paper has attempte
Page 897 and 898:
Thom R. (1975) Structural Stability
Page 899 and 900:
In this condition, a variety of reh
Page 901 and 902:
2. Function of the mother 2.1. Winn
Page 903 and 904:
will be barred, and the infant will
Page 905 and 906:
separateness with the therapist, wh
Page 907 and 908:
the trainer survives, they understa
Page 909 and 910:
moderate deviation attempted by bot
Page 911 and 912:
The examples shown here are under t
Page 913 and 914:
expressed her cheerful feeling of u
Page 915 and 916:
The reflective Pratitioner - an app
Page 917 and 918:
Beside this we have a very close co
Page 919 and 920:
The structure of the training: The
Page 921 and 922:
Students and teachers do discuss th
Page 923 and 924:
courses and now some of them are re
Page 925 and 926:
cooperation with University of Melb
Page 927 and 928:
emotional expressions through out t
Page 929 and 930:
communicates significant character
Page 931 and 932:
articulation} form the core of voic
Page 933 and 934:
sung as a protest to injustice and
Page 935 and 936:
Both the repertoire and the voice w
Page 937 and 938:
Neurorehabilitation: a tool for und
Page 939 and 940:
On which side within this multiprof
Page 941 and 942:
will never be the same as you have
Page 943 and 944:
Dorita Berger points out why music
Page 945 and 946:
achievement orientated training is
Page 947 and 948:
medicine is not better or worse tha
Page 949 and 950:
which refers to Psychodynamic Psych
Page 951 and 952:
Syndrom ( Elefant 2001). The point
Page 953 and 954:
least modify his maladaptive behavi
Page 955 and 956:
achievement (you matter) , increasi
Page 957 and 958:
Berger, D. (1999) Music in Human Ad
Page 959 and 960:
Tomaino, C. (2001) The role of musi
Page 961 and 962:
understand and to integrate. And th
Page 963 and 964:
musical or not, and to respond in a
Page 965 and 966:
Without wishing to mix affect attun
Page 967 and 968:
early to obey their parents. Silenc
Page 969 and 970:
not betray her. He must be able to
Page 971 and 972:
protective womb for us. So protecte
Page 973 and 974:
do serve as an emotional reservoire
Page 975 and 976:
were, “ I got a fright, it is sca
Page 977 and 978:
eaction that rendered ineffective m
Page 979 and 980:
to me that this was what he wanted,
Page 981 and 982:
his strength. He did it with ever-g
Page 983 and 984:
Today Adam speaks with strangers, w
Page 985 and 986:
Winnicott,D.W. (1950-5) Aggression
Page 987 and 988:
The childcare program enrolls about
Page 989 and 990:
teachers, and helped the teachers i
Page 991 and 992:
(Lord, Rutter, DiLavore & Risi, 199
Page 993 and 994:
Figure 45Ben during transition time
Page 995 and 996:
Research Study The intervention was
Page 997 and 998:
After the modified intervention Ben
Page 999 and 1000:
I would like to close the Morning G
Page 1001 and 1002:
steps in the lyrics: (1) Turn the w
Page 1003 and 1004:
The classroom teacher was able to i
Page 1005 and 1006:
Quill, K., A. (2001). Do-Watch-list
Page 1007 and 1008:
One Foot in the Grave - Endings in
Page 1009 and 1010:
inevitable and often difficult situ
Page 1011 and 1012:
Regressive play as it was. Winnicot
Page 1013 and 1014:
oth separateness and the moment of
Page 1015 and 1016:
Jinho, an energetic 6-year-old boy
Page 1017 and 1018:
developmental disorder, and the use
Page 1019 and 1020:
desperation in music therapy. Inste
Page 1021 and 1022:
painful, the therapist may have to
Page 1023 and 1024:
difficult to finish because it’s
Page 1025 and 1026:
therapy after the break, while Sumi
Page 1027 and 1028:
or he had suffered year and years i
Page 1029 and 1030:
last day of our session, however, h
Page 1031 and 1032:
Hamilton, V. (2001) Foreward. In J.
Page 1033 and 1034:
Electronic Musical Instruments - a
Page 1035 and 1036:
improvisation by clients not previo
Page 1037 and 1038:
word processor. These programs are
Page 1039 and 1040:
Figure 48 Screenshot of MidiGrid sh
Page 1041 and 1042:
egan talking to it. Therapists note
Page 1043 and 1044:
When a grid of pressure sensors is
Page 1045 and 1046:
Figure 53Screenshot of CAMTAS showi
Page 1047 and 1048:
Figure 54Schematic overview of CAMT
Page 1049 and 1050:
original performance intention. The
Page 1051 and 1052:
particular interest and value in th
Page 1053 and 1054:
A set of elemental gestural compone
Page 1055 and 1056:
etc.) to a user's movement (driven
Page 1057 and 1058:
He stayed 10 years in a closed spec
Page 1059 and 1060:
inquire about filiation, mother-son
Page 1061 and 1062:
The third point deals with the incr
Page 1063 and 1064:
I notice that he did in London what
Page 1065 and 1066:
He tells about the concert preparat
Page 1067 and 1068:
writes about the need for therapeut
Page 1069 and 1070:
‘rocked in the cradle of the deep
Page 1071 and 1072:
process. Thus eventually, intersubj
Page 1073 and 1074:
music therapists face is the diffic
Page 1075 and 1076:
therapy literature. I also think th
Page 1077 and 1078:
thinks that creative artists, at de
Page 1079 and 1080:
experience of the world, the result
Page 1081 and 1082:
contend, the sine qua non of the ba
Page 1083 and 1084:
PART 4: KATE Now I intend to explor
Page 1085 and 1086:
etween us. The continuation of the
Page 1087 and 1088:
pertinent example being where she s
Page 1089 and 1090:
overwhelmingly intense emotional ex
Page 1091 and 1092:
communicate and make an emotional i
Page 1093 and 1094:
Hartley, N. (2001). On a Personal N
Page 1095 and 1096:
Music Therapy for Educators: Are we
Page 1097 and 1098:
ecome a professional asset for them
Page 1099 and 1100:
used, executed or created - constan
Page 1101 and 1102:
The systematic use of music involve
Page 1103 and 1104:
providing them with basic informati
Page 1105 and 1106:
worked on both therapeutic and educ
Page 1107 and 1108:
degree of pathology. Introductory m
Page 1109 and 1110:
their future practice, and 2) the p
Page 1111 and 1112:
Implications for Practice: “In th
Page 1113 and 1114:
As Schalkwik (1993) stated, “supe
Page 1115 and 1116:
school becomes a good opportunity f
Page 1117 and 1118:
themselves and the needs of their s
Page 1119 and 1120:
works within a paradigm that is dif
Page 1121 and 1122:
Interesting Quotes Citar: Damasio -
Page 1123 and 1124:
music, that the essence of music th
Page 1125 and 1126:
Prayer The third theme is prayer. P
Page 1127 and 1128:
the essence of our work- music ther
Page 1129 and 1130:
children’s conditions do not have
Page 1131 and 1132:
which feels physical, as well as em
Page 1133 and 1134:
Figure 57Duel Process Model of Copi
Page 1135 and 1136:
He seems to stress the importance o
Page 1137 and 1138:
• Music offers child a sense of c
Page 1139 and 1140:
2 For children who had had a brothe
Page 1141 and 1142:
• Musical games • Discussions
Page 1143 and 1144:
grouped we found the dramatic simil
Page 1145 and 1146:
As discussed earlier, the children
Page 1147 and 1148:
‘Neither did I, I felt sick in my
Page 1149 and 1150:
Bruscia, K.E (ed.) (1998) The Dynam
Page 1151 and 1152:
The Influence of Gamelan (Javanese
Page 1153 and 1154:
in the womb. According to Piaget, h
Page 1155 and 1156:
which separate into 30 newborns for
Page 1157 and 1158:
Respiration Arnand & Hickey (Schwar
Page 1159 and 1160:
Calm emotions in general In general
Page 1161 and 1162:
Schwartz, F.J. Music Stress Reducti
Page 1163 and 1164:
TelephoneOffice : (62-31-)2981146 H
Page 1165 and 1166:
Pediatric Migraine and its treatmen
Page 1167 and 1168:
interventions show a bigger effect
Page 1169 and 1170:
phase. In the concrete-operational
Page 1171 and 1172:
In addition to music therapy we off
Page 1173 and 1174:
situations, but also relaxation tra
Page 1175 and 1176:
Music therapy assessment Musical be
Page 1177 and 1178:
awareness and has gained a good lev
Page 1179 and 1180:
Verbal Processing in Music Therapy
Page 1181 and 1182:
Background Literature Stark and Loh
Page 1183 and 1184:
therapeutic relationship. To help u
Page 1185 and 1186:
situations, such as in medical hosp
Page 1187 and 1188:
Directions of the Therapist’s Wor
Page 1189 and 1190:
not belong in their list. However,
Page 1191 and 1192:
11) encourage clients to link verba
Page 1193 and 1194:
Nolan, P. (1994). The therapeutic r
Page 1195 and 1196:
• A critique of rationality itsel
Page 1197 and 1198:
ceremonies, rituals, and exorcisms.
Page 1199 and 1200:
on someone, and then they talk thro
Page 1201 and 1202:
After a week of providing workshops
Page 1203 and 1204:
A secondary problem of course is th
Page 1205 and 1206:
At any one time depending participa
Page 1207 and 1208:
Palliative Care Music Therapy in th
Page 1209 and 1210:
either of them. Kate had always bee
Page 1211 and 1212:
Enjoy the time we’ve got Kate was
Page 1213 and 1214:
WORMHOLES and GIM: Why linear notio
Page 1215 and 1216:
Therefore I will begin this talk wi
Page 1217 and 1218:
felt there must have been a flaw in
Page 1219 and 1220:
‘Synchronicity therefore means th
Page 1221 and 1222:
time go hand in hand. Only when thi
Page 1223 and 1224:
the presence of the imminent death
Page 1225 and 1226:
During session 7 imagery emerged th
Page 1227 and 1228:
support to her. It was the first ti
Page 1229 and 1230:
Time is the issue of the day. Physi
Page 1231 and 1232:
Von Franz, Maria. (1992) Psyche and
Page 1233 and 1234:
Systemic thinking does not view a p
Page 1235 and 1236:
ealised and there was the possibili
Page 1237 and 1238:
combinations and there was, as Hoff
Page 1239 and 1240:
important thing is that a sculpt ha
Page 1241 and 1242:
Within the skills used within the s
Page 1243 and 1244:
position of another, not pretending
Page 1245 and 1246:
active member in one of my groups.
Page 1247 and 1248:
Watzlawick,P.,Weakland,J & Fisch, R
Page 1249 and 1250:
He first pointed out the relation,
Page 1251 and 1252:
if he visibly startled on his chair
Page 1253 and 1254:
Roman christian civilization. Becau
Page 1255 and 1256:
unreal (for some the infinitesimal
Page 1257 and 1258:
most well known and versatile. He c
Page 1259 and 1260:
When we hypostatize Psyche as a rea
Page 1261 and 1262:
Being. What actually surprised me i
Page 1263 and 1264:
Cp. S. Freud’s works 1237
Page 1265 and 1266:
Introduction and setting contexts.
Page 1267 and 1268:
Modern day South Africa is a countr
Page 1269 and 1270:
eings as individuals with a physica
Page 1271 and 1272:
At the same time, we know that the
Page 1273 and 1274:
‘undesirable’ according to the
Page 1275 and 1276:
generation to generation, which we
Page 1277 and 1278:
I’ve been attempting to draw para
Page 1279 and 1280:
and ‘techniques’ from the ‘el
Page 1281 and 1282:
life, Traditional healers are bound
Page 1283 and 1284:
Hardwick, P. (1998). "Health Belief
Page 1285 and 1286:
Report On Keynote Forum: Towards Co
Page 1287 and 1288:
1 What do you understand by Communi
Page 1289 and 1290:
profession. At the same time, the p
Page 1291 and 1292:
helps and may accompany clients wit
Page 1293 and 1294:
The role of attention and metaphor
Page 1295 and 1296:
oles, and interpersonal relationshi
Page 1297 and 1298:
new alternatives in imagery first a
Page 1299 and 1300:
mother could come back and his fath
Page 1301 and 1302:
down on the grass, with her body ti
Page 1303 and 1304:
dreamt for years, and the pupil as
Page 1305 and 1306:
ecomes very small as a butterfly ex
Page 1307 and 1308:
she represented and communicated he
Page 1309 and 1310:
Terms and criteria for assessment a
Page 1311 and 1312:
What you need is a situation with a
Page 1313 and 1314:
e done in my way of answering to th
Page 1315 and 1316:
drawback to rely on verbal communic
Page 1317 and 1318:
Stability is the capability of hold
Page 1319 and 1320:
Hand development. The tactile senso
Page 1321 and 1322:
With other words we don’t do any
Page 1323 and 1324:
The FMT-therapist’s approach and
Page 1325 and 1326:
Towards a Definition of Resistance
Page 1327 and 1328:
indiscriminately. My aim in this st
Page 1329 and 1330:
(action) and may be described with
Page 1331 and 1332:
4 Only patients with five or more s
Page 1333 and 1334:
Table 22 Patient A, method 1 short
Page 1335 and 1336:
15 10 5 0 This can be shown with a
Page 1337 and 1338:
clinical work? Therefore, I still f
Page 1339 and 1340:
transactional theory is presented i
Page 1341 and 1342:
if a specific treatment reaches the
Page 1343 and 1344:
multimethod approaches are monitori
Page 1345 and 1346:
On the micro level the findings of
Page 1347 and 1348:
The triangulation of all three leve
Page 1349 and 1350:
Perception comprises the sensual an
Page 1351 and 1352:
way transforming themselves. They a
Page 1353 and 1354:
A detailed analysis of behavioral a
Page 1355 and 1356:
elationship in a therapeutic frame
Page 1357 and 1358:
Orff-Musiktherapie bei einem fünfj
Page 1359 and 1360:
“On a journey to Mind and Emotion
Page 1361 and 1362:
In the physioacoustic method the fr
Page 1363 and 1364:
composers and musicians. The fourth
Page 1365 and 1366:
an institution with Jussi therefore
Page 1367 and 1368:
When the research data was analysed
Page 1369 and 1370:
Figure 62 The levels of experience
Page 1371 and 1372:
Figure 63The first phase of the pro
Page 1373 and 1374:
memories which took the participant
Page 1375 and 1376:
The participants felt that during t
Page 1377 and 1378:
was about escaping the reality. Lif
Page 1379 and 1380:
The main meaning of this research i
Page 1381 and 1382:
support from the psychodynamic theo
Page 1383 and 1384:
McDougall, J. (1999). Ruumiin näyt
Page 1385 and 1386:
The practical application of Ruggie
Page 1387 and 1388:
support. Resting is therefore relat
Page 1389 and 1390:
last few decades that more advanced
Page 1391 and 1392:
violin pain’. For many, too many
Page 1393 and 1394:
performers are asked to concentrate
Page 1395 and 1396:
Later on, data were transposed on a
Page 1397 and 1398:
• Instrumental technique: C#4 is
Page 1399 and 1400:
P-Value 0.0153 Table 25 Comparison
Page 1401 and 1402:
3. Pitch: P-Value 0.0283 P-Value 0.
Page 1403 and 1404:
teaching material, musical literatu
Page 1405 and 1406:
The comparison between shoulder-bla
Page 1407 and 1408:
processes there could be a strict r
Page 1409 and 1410:
EXPERIMENT This experiment is inten
Page 1411 and 1412:
3.2 SCALE SELECTED (Xi) 3.3 RECORDI
Page 1413 and 1414:
4 The exercises were all carried ou
Page 1415 and 1416:
The number of harmonics equal to xi
Page 1417 and 1418:
average was that relative to the ab
Page 1419 and 1420:
4.2 MATERIALS In order to evaluate
Page 1421 and 1422:
.These data were then subjected to
Page 1423 and 1424:
Table 43 Frequencies DULL 3 1 2 3 1
Page 1425 and 1426:
e the gestalt narcissistic represen
Page 1427 and 1428:
At the same time, the facilitator t
Page 1429 and 1430:
government policy at the time to ad
Page 1431 and 1432:
Table 45 Series of GIM Sessions- Th
Page 1433 and 1434:
his life on the streets; wanting to
Page 1435 and 1436:
I’ll never forget you...try to te
Page 1437 and 1438:
afraid to see. All the time, big Ka
Page 1439 and 1440:
eautiful she is, smudges her, and t
Page 1441 and 1442:
Karen goes to visit her Great Aunt
Page 1443 and 1444:
SUMMARY Adoption Both during and af
Page 1445 and 1446:
starting to overhaul his life, in r
Page 1447 and 1448:
I have been a practicing music ther
Page 1449 and 1450:
Communicating through singing Ridde
Page 1451 and 1452:
• Aphasia is a partial or complet
Page 1453 and 1454:
can function as an emotional expres
Page 1455 and 1456:
consist of para-linguistic messages
Page 1457 and 1458:
2. Gestural response (foot), Rfo Rf
Page 1459 and 1460:
Bright, R. (1997). Music Therapy an
Page 1461 and 1462:
*2: ICD-10 see: www.informatik.fh-l
Page 1463 and 1464:
of the bags the choir members and t
Page 1465 and 1466:
Participants for the AIR pilot proj
Page 1467 and 1468:
The following are quotes from trans
Page 1469 and 1470:
first living in a studio apartment,
Page 1471 and 1472:
getting back into church again. And
Page 1473 and 1474:
the operation)...But, basically, th
Page 1475 and 1476:
GIM training. I respect her work, a
Page 1477 and 1478:
2. Character - this category is abo
Page 1479 and 1480:
3. Musical- musical structure was o
Page 1481 and 1482:
The response to the question, “Wh
Page 1483 and 1484:
tragedy had a tremendous impact on
Page 1485 and 1486:
The Lullaby Group: Music Therapy at
Page 1487 and 1488:
enhanced longterm risk to both moth
Page 1489 and 1490:
• a slow tempo • restricted set
Page 1491 and 1492:
& Trainor 1998) may also have contr
Page 1493 and 1494:
5 Provide age-appropriate sensory/c
Page 1495 and 1496:
establish the relationship. The col
Page 1497 and 1498:
What Parents Liked: "I like the mus
Page 1499 and 1500:
cohesion by providing opportunities
Page 1501 and 1502:
variations on this theme might enta
Page 1503 and 1504:
Muir, E., Lojkasek, M. & Cohen, N.
Page 1505 and 1506:
Sick mode and dying mode: music the
Page 1507 and 1508:
Evaluation Participant Evaluation P
Page 1509 and 1510:
sensitive to patients as possible (
Page 1511 and 1512:
Figure 70 Proposed Norms of Practic
Page 1513 and 1514:
Pavlicevic, M. (1995). Growing into
Page 1515 and 1516:
they wanted to see from the music t
Page 1517 and 1518:
The PURPOSE OF THE STUDY was to val
Page 1519 and 1520:
1 the first impression of what I ob
Page 1521 and 1522:
construction of musical identity it
Page 1523 and 1524:
an essential part of treatment (Ped
Page 1525 and 1526:
In this approach, using SIMPLE GROU
Page 1527 and 1528:
In this approach the focus is on di
Page 1529 and 1530:
WARM UP: CONTACT WITH BODY SOUNDS -
Page 1531 and 1532:
The beat pulse is the background mu
Page 1533 and 1534:
They accepted the limits of the set
Page 1535 and 1536:
Odell-Miller, H. (1999): Investigat
Page 1537 and 1538:
The results showed that, firstly, a
Page 1539 and 1540:
Methods 1. Selection of music Famil
Page 1541 and 1542:
4.4.5. After subjects listened to
Page 1543 and 1544:
M.M. = 100 80 60 40 20 0 Figure 74S
Page 1545 and 1546:
Table 48 Significant channels durin
Page 1547 and 1548:
Discussion 1.We have observed that
Page 1549 and 1550:
While clients with severe and non-s
Page 1551 and 1552:
Acknowledgment We would like partic
Page 1553 and 1554:
Saji, N. and Saji R. (2001). A stud
Page 1555 and 1556:
doing this work? If I look at my ow
Page 1557 and 1558:
To date almost no literature exists
Page 1559 and 1560:
numbers reflect that this group is
Page 1561 and 1562:
4. Previous experience: “…perso
Page 1563 and 1564:
Table 51 Stressors 10. Pt/family re
Page 1565 and 1566:
stated that communication with the
Page 1567 and 1568:
Comments: “I do worry about if I
Page 1569 and 1570:
11. Communication difficulties with
Page 1571 and 1572:
“I feel I can never do enough on
Page 1573 and 1574:
70% answered “yes” to this ques
Page 1575 and 1576:
4. Music therapy coursework: Only 1
Page 1577 and 1578:
ability to communicate through musi
Page 1579 and 1580:
Elements of ‘self-awareness’ li
Page 1581 and 1582:
emerged pertaining to the selection
Page 1583 and 1584:
Are our experiences typical or does
Page 1585 and 1586:
Hartley, N. (2001). On a personal n
Page 1587 and 1588:
I received the following response f
Page 1589 and 1590:
different styles, jazz, chords, har
Page 1591 and 1592:
done is primarily through developin
Page 1593 and 1594:
When one analyses, and artificially
Page 1595 and 1596:
is therefore experienced as a great
Page 1597 and 1598:
is the difficulty in giving up a ce
Page 1599 and 1600:
directly related to establishing a
Page 1601 and 1602:
finding her voice. The best medicin
Page 1603 and 1604:
to disempower it. Since the student
Page 1605 and 1606:
“Playing” with these voices can
Page 1607 and 1608:
Thus, what we can do is explain aga
Page 1609 and 1610:
together with supervising his care,
Page 1611 and 1612:
may have no idea what I mean. Since
Page 1613 and 1614:
achieves. The decision to interrupt
Page 1615 and 1616:
But after several lessons, I discov
Page 1617 and 1618:
The Rots Of Our Song : Music Therap
Page 1619 and 1620:
felt confidant and involved enough
Page 1621 and 1622:
speech and is talking in one’s se
Page 1623 and 1624:
members of a dance therapy group wa
Page 1625 and 1626:
Benefits: self-esteem, feeling of b
Page 1627 and 1628:
Articulating the Dynamics of Music
Page 1629 and 1630:
ecognising that describing musical
Page 1631 and 1632:
therapy group improvisations, these
Page 1633 and 1634:
practice (Aigen, 1995). The focus o
Page 1635 and 1636:
Within this study, the use of indep
Page 1637 and 1638:
nature of the music. This is bracke
Page 1639 and 1640:
made it possible to clearly identif
Page 1641 and 1642:
importance of indigenous understand
Page 1643 and 1644:
McFerran-Skewes, K. & Wigram, A. (2
Page 1645 and 1646:
mum: their actual experience, their
Page 1647 and 1648:
ehaviours were “normal” and lat
Page 1649 and 1650:
Already we can see that various asp
Page 1651 and 1652:
mothers feel joy, pride and a sense
Page 1653 and 1654:
The group of students experienced t
Page 1655 and 1656:
the observer to be punctuating its
Page 1657 and 1658:
to the experience of having our clo
Page 1659 and 1660:
chimes. She looked at them and with
Page 1661 and 1662:
Narratives In A New Key: Transforma
Page 1663 and 1664:
witness to a powerful indigenous fo
Page 1665 and 1666:
myself, would a music therapy commi
Page 1667 and 1668:
Music as Personal Transformation: A
Page 1669 and 1670:
I continue to be excited by how thi
Page 1671 and 1672:
It is later in the session and we a
Page 1673 and 1674:
It is halfway through the 11th sess
Page 1675 and 1676:
transform latent meaning into actua
Page 1677 and 1678:
listening or playing or composing.
Page 1679 and 1680:
Phillips, A. (2000) Promises, Promi
Page 1681 and 1682:
My purpose within this paper is not
Page 1683 and 1684:
they mock because of their sameness
Page 1685 and 1686:
piano accompaniment and moves in ti
Page 1687 and 1688:
eflection” both physically and mu
Page 1689 and 1690:
My role of imitator and reflector i
Page 1691 and 1692:
extremely flexible in comparison wi
Page 1693 and 1694:
As with Elsie, my reflective musica
Page 1695 and 1696:
Conclusion Imitative and reflective
Page 1697 and 1698:
Workshop - What is Disturbed Behavi
Page 1699 and 1700:
Rationale for the workshop Recently
Page 1701 and 1702:
these, where the majority view was
Page 1703 and 1704:
Study group PLAIM Association Gagli
Page 1705 and 1706:
Where is the ‘music’ in music t
Page 1707 and 1708:
Debates about ‘new technology’
Page 1709 and 1710:
sustained periods of contemplation,
Page 1711 and 1712:
Table 55 John's autism symptoms and
Page 1713 and 1714:
Author: TIM SWINGLER [BSc (hons), D
Page 1715 and 1716:
dependant on an educational group f
Page 1717 and 1718:
school during the three last years
Page 1719 and 1720:
this kind of intervention provided
Page 1721 and 1722:
smile inviting them to be free with
Page 1723 and 1724:
Being able to stop : It is not easy
Page 1725 and 1726:
These moments are the most difficul
Page 1727 and 1728:
Self-expression has become possible
Page 1729 and 1730:
The school’s director made a posi
Page 1731 and 1732:
Music therapy with hearing impaired
Page 1733 and 1734:
accompany and to support their slow
Page 1735 and 1736:
aspect - communication that is not
Page 1737 and 1738:
In order to explain my procedure I
Page 1739 and 1740:
Figure 80 A second result of this e
Page 1741 and 1742:
espectively. In between, Keethena t
Page 1743 and 1744:
I should like to start with evaluat
Page 1745 and 1746:
Figure 86 On the outset of interact
Page 1747 and 1748:
Figure 88 At the beginning of the t
Page 1749 and 1750:
Thinking of the results of the rese
Page 1751 and 1752:
Entwicklungen in der Diagnostik, Th
Page 1753 and 1754:
KAMMERER, Emil: Kinderpsychatrische
Page 1755 and 1756:
SENN, Victor A.: Cochli-Tagebuch -
Page 1757 and 1758:
therapeutic agent. It dawns as both
Page 1759 and 1760:
Two key helping concepts Kitwood id
Page 1761 and 1762:
• Hyperorality • Disinhibition,
Page 1763 and 1764:
Thora restless and little edgy, but
Page 1765 and 1766:
Session 15, 23 rd minute (2:16) Tho
Page 1767 and 1768:
Kitwood, T., and Bredin, K. (1992)
Page 1769 and 1770:
them briefly with the theories of e
Page 1771 and 1772:
script for the interactional scene.
Page 1773 and 1774:
went to the children’s home in mi
Page 1775 and 1776:
important to find out what the role
Page 1777 and 1778:
something when vocalizing. Most of
Page 1779 and 1780:
Matthew seemed to occasionally retu
Page 1781 and 1782:
We have been creating a bridge betw
Page 1783 and 1784:
Establishing Developmental Indicati
Page 1785 and 1786:
and nonmusical behaviors within the
Page 1787 and 1788:
persons or objects in order to make
Page 1789 and 1790:
Kinderzentrum München. The names o
Page 1791 and 1792:
instead toward the camera. My playi
Page 1793 and 1794:
compartments of the instrument usin
Page 1795 and 1796:
problems drinking. He received phys
Page 1797 and 1798:
Strategies for therapy Paul’s ver
Page 1799 and 1800:
he had many strong points as well.
Page 1801 and 1802:
What have these two examples from c
Page 1803 and 1804:
Franco, G., Ruud, E., Wigram, T. (E
Page 1805 and 1806:
Evidence Based Music Therapy Vink,
Page 1807 and 1808:
discuss examples of the implementat
Page 1809 and 1810:
There are already many music therap
Page 1811 and 1812:
Table 56 RANDOMISED CONTROLLED TRIA
Page 1813 and 1814:
medicine with this client group. Re
Page 1815 and 1816:
Medline (Clarke et al., 2001). Data
Page 1817 and 1818:
Figure 91Retrieved studies Retrieve
Page 1819 and 1820:
variety of client populations. At t
Page 1821 and 1822:
The words were used in various cont
Page 1823 and 1824:
Psychiatric Association, 1994) Thus
Page 1825 and 1826:
Father Jacob, on different instrume
Page 1827 and 1828:
different cultural background would
Page 1829 and 1830:
Figure 97 Step 4 continued �� N
Page 1831 and 1832:
Clarke M, Oxman AD, editors. Cochra
Page 1833 and 1834:
From Song To Speech- Music Therapy
Page 1835 and 1836:
interventions needed to acquire spe
Page 1837 and 1838:
to the mother ways in which she can
Page 1839 and 1840:
pleasant sounding instruments can b
Page 1841 and 1842:
with other professionals in this te
Page 1843 and 1844:
one (I remember a client who self i
Page 1845 and 1846:
How hard it was to stay with Heathe
Page 1847 and 1848:
services, or with clients with lear
Page 1849 and 1850:
Figure 100 I want to explore the id
Page 1851 and 1852:
find that feelings that he had were
Page 1853 and 1854:
• Professionals have developed th
Page 1855 and 1856:
Experiential Training In Music Ther
Page 1857 and 1858:
• How it is done - music therapis
Page 1859 and 1860:
Symposium was chaired by Denise Gro
Page 1861 and 1862:
integrated studies in music therapy
Page 1863 and 1864:
Kathleen M. Murphy, MMT, MT-BC, FAM
Page 1865 and 1866:
sessions must be done with a Fellow
Page 1867 and 1868:
others, and less focused upon impro
Page 1869 and 1870:
therapist with music therapy studen
Page 1871 and 1872:
My paper will focus on the outcome
Page 1873 and 1874:
Music Therapy Associations Union, W
Page 1875 and 1876:
Founder of the Masters Programme in
Page 1877 and 1878:
focus on the “person of the stude
Page 1879 and 1880:
and relationships between normal de
Page 1881 and 1882:
agitated child and enticing the wit
Page 1883 and 1884:
Music therapy which addresses Stage
Page 1885 and 1886:
our task as music therapists as bei
Page 1887 and 1888:
capacity to relate to others. We fe
Page 1889 and 1890:
etween one therapist and one client
Page 1891 and 1892:
Extract 3 - The first free group im
Page 1893 and 1894:
Extract 7 - Ryan’s solo (S.15) Ex
Page 1895 and 1896:
sharing the piano with Baraq, and w
Page 1897 and 1898:
music could be heard in the context
Page 1899 and 1900:
Davies, Alison and Richards, Eleano
Page 1901 and 1902:
ut did not offer groupwork which de
Page 1903 and 1904:
patient is known, it does not feel
Page 1905 and 1906:
than dictate this structure, I aske
Page 1907 and 1908:
There was a need for something soli
Page 1909 and 1910:
of him as if he felt he was not wor
Page 1911 and 1912:
I wondered if this activity was pre
Page 1913 and 1914:
aggression and the tensions arising
Page 1915 and 1916:
The biggest changes for the patient
Page 1917 and 1918:
As a result of this group, the hosp
Page 1919 and 1920:
therapy theory. I respond empathica
Page 1921 and 1922:
descriptive and theoretical materia
Page 1923 and 1924:
Cultural aspects of mental health c
Page 1925 and 1926:
flexibility and minimised any anxie
Page 1927 and 1928:
approach in conversation allowed po
Page 1929 and 1930:
accommodate this diversity. He feel
Page 1931 and 1932:
Clients may have conscious and unco
Page 1933 and 1934:
quality into words. The clients fee
Page 1935 and 1936:
is conceded that I may never be a p
Page 1937 and 1938:
African music/Media culture/Rhythm/
Page 1939 and 1940:
Therapeutic Conditions The research
Page 1941 and 1942:
This qualitative study achieved its
Page 1943 and 1944:
Ruud, E. (1998). Music Therapy: Imp
Page 1945 and 1946:
The Use of Song Lyric Interpretatio
Page 1947 and 1948:
simple narrative, each song remembe
Page 1949 and 1950:
Music therapy and therapeutic recre
Page 1951 and 1952:
Music plays a significant role in f
Page 1953 and 1954:
Song Lyric Interpretation: Recoveri
Page 1955 and 1956:
• Is the song suitable for achiev
Page 1957 and 1958:
Description of participants A total
Page 1959 and 1960:
severe dementia. She continues to b
Page 1961 and 1962:
the creation of a personal narrativ
Page 1963 and 1964:
The Marines’ Hymn My Blue Heaven
Page 1965 and 1966:
Copy Cats: what does imitation mean
Page 1967 and 1968:
asking me whether he could do somet
Page 1969 and 1970:
Table 59 The Development of a Sense
Page 1971 and 1972:
his own, and the variations are to
Page 1973 and 1974:
necessarily directly related to the
Page 1975 and 1976:
can do so themselves. Later in deve
Page 1977 and 1978:
He also became less controlling of
Page 1979 and 1980:
firmly in a way which felt cross. J
Page 1981 and 1982:
NeoM - a research-network on emotio
Page 1983 and 1984:
acting, behavior and thinking.” (
Page 1985 and 1986:
Figure 102: (Wosch 2002, 255) - def
Page 1987 and 1988:
of music experience in a context of
Page 1989 and 1990:
the “intratextural interaction”
Page 1991 and 1992:
charakterized in emotion psychology
Page 1993 and 1994:
separation from the object, with el
Page 1995 and 1996:
the musical therapeutic process and
Page 1997 and 1998:
and the University of Applied Scien
Page 1999 and 2000:
to music therapy subjects, for inst
Page 2001 and 2002:
Sloboda, J.A., & Juslin, P.N. (Ed.)
Page 2003 and 2004:
For our team in Bologna the theoret
Page 2005 and 2006:
“Doing” is not to be meant as
Page 2007 and 2008:
Semiresidential House for Adolescen
Page 2009 and 2010:
of the relationship that is likely
Page 2011 and 2012:
What he wrote in a composition of t
Page 2013 and 2014:
didn’t want to continue his treat
Page 2015 and 2016:
in embryo”, many stylistic elemen
Page 2017 and 2018:
The session ended with the recallin
Page 2019 and 2020:
delirium which, as well as the use
Page 2021 and 2022:
G. was very with the result he had
Page 2023 and 2024:
I felt that in those moments a “c
Page 2025 and 2026:
order to question them. What attrac
Page 2027 and 2028:
G. found it difficult to sing the
Page 2029 and 2030:
The different setting, no more an i
Page 2031 and 2032:
different interests and new commitm
Page 2033 and 2034:
BIBLIOGRAPHY AA. VV., (1989), L’a
Page 2035 and 2036:
Rigon G., Chiodo S., Mansi R., Tone
Page 2037 and 2038:
certain field of work, should regar
Page 2039 and 2040:
When this research was proposed, th
Page 2041 and 2042:
improving their life quality in the
Page 2043 and 2044:
esult of options chosen, which impl
Page 2045 and 2046:
It is believed that the social rela
Page 2047 and 2048:
This second essence stemmed from ph
Page 2049 and 2050:
“being” that places value on hi
Page 2051 and 2052:
apart, we are going to add some mor
Page 2053 and 2054:
When one has the possibility to bri
Page 2055 and 2056:
As a partial and concrete victory o
Page 2057 and 2058:
DELABARY, Ana Mª L. (2001) Musicot
Page 2059 and 2060:
VERAS, Renato (org.) (1997) Terceir
Page 2061 and 2062:
in psychoanalysis and behaviorism,
Page 2063 and 2064:
Clinical History Reference Team: Me
Page 2065 and 2066:
Both at home and at school, her hyp
Page 2067 and 2068:
The child seemed sufficiently well
Page 2069 and 2070:
human voice can resonate only withi
Page 2071 and 2072:
Sometimes I would allow her to do s
Page 2073 and 2074:
VIDEO PRESENTA TION OF THE ANALYZE
Page 2075 and 2076:
Can Music Help? Music Therapy with
Page 2077 and 2078:
symptoms, they often do not seek me
Page 2079 and 2080:
that was so important to them. Sing
Page 2081 and 2082:
for a public event at the centre. T
Page 2083 and 2084:
Extract 4 Such sharing of each othe
Page 2085 and 2086:
his Palestinian Secret Organisation
Page 2087 and 2088:
List of tables Codifica Incontri Di
Page 2089 and 2090:
Comparison between the FREE POSITIO
Page 2091 and 2092:
The Development of a Sense of Self
Page 2093 and 2094:
Patients treated with MT based on t
Page 2095 and 2096:
icons 1013 MidiGrid pattern contain
Page 2097 and 2098:
Areas of significant differences 15
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Proceedings, Oxford, UK (2002) - World Federation of Music Therapy

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