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

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of the behaviour of the two subjects by using a list of kinesic-visual and vocal-audio behavioural indicators. 64
Table 2 Detailed Description Of Behaviour: list Of Indicator Descrizione Dettagliata: Elenco Indicatori MACRO BEHAVIOURAL INDICATORS MACRO OSSERVAZIONI Kinesic – visual indicator Modalità cinesico - visiva MICRO BEHAVIOURAL INDICATORS MICRO OSSERVAZIONI Comportamento spaziale: • distanza ( vicinanza \ lontananza); • orientazione (faccia a faccia, fianco a fianco, ecc.); • postura (rilassata \ tesa); • uso dello spazio (si muove in tutta la stanza, solo in alcune parti, ecc). Comportamento motorio – gestuale: • gesti: accomodatori, illustrativi, simbolici, emotivi, regolatori del discorso sonoro. • movimenti: • rivolti alla persona; rivolti a se stessi; rivolti a un oggetto (ad es: accarezzare, toccare, manipolare, suonare, gesto musicale, ecc.) Espressioni del volto – mimica facciale • mutamenti della posizione (sorriso, espressione neutra, ecc.). • Sottolineature cinesiche: es. come inarca le sopracciglia mentre enfatizza vocalmente o musicalmente le parole e\o i suoni. Sguardo: • lungo / breve (dimensione temporale); • orientamento (verso l’altra persona; verso di sé; verso l’oggetto, verso l’ambiente); occhi chiusi. 65
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Dialogue and Debate - Conference Pr
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Baumann, Monika 119 Music Therapy a
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Fearn, Mary-Clare and O’Connor, R
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Katz, Simona 934 A Song For You: In
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Reher, M. 1400 Communicating throug
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Experiential Training In Music Ther
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Author Index Abad, Vicky 1 Abad, Vi
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Gallicchio, M.E.S. S. 664 Giovanna
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Plahl, Christine 1312 Polcaro, F. 4
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Introduction by Leslie Bunt It is a
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main areas that appeared to be cent
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choice of speaker for the keynote a
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Sing & Grow: A New Music Therapy In
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history of psychiatric disorder (Si
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programme offered an opportunity fo
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circle formation and participate in
Page 35 and 36:
O'Connor, T., Heron, J., Golding, J
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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: Table 1 Codifica Incontri Di Musico
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
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or may need palliative care. These
Page 143 and 144:
music therapy profession relinquish
Page 145 and 146:
Limitations and Open Spaces: Music
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experiment, perhaps to discover som
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and had very much enjoyed dancing I
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Singing or humming in time with the
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communicate through speech. Singing
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Lack of drive Restricted expressive
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Watch this extract from the second
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Music Therapy and Narrative: Integr
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Life review work is a good starting
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that of becoming an active agent. T
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our role as music and narrative the
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level. I have chosen to use Amir’
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• These are moments when difficul
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styles. Often people in this work p
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often people are generally pleased
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within the oral history and musical
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schools”. (Pg. 5, Micozzi). It is
Page 179 and 180:
Aldridge, D. (1999). Music therapy
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months. The first interruption occu
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patterns transmitted by the mass me
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its culture. From this period on hu
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Ruud’s terminology ), as if they
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human development and spontaneity m
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some notes because of the exercises
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him improve his knowledge of differ
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And went to the sea The fish has ea
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Cascudo a lot of different populati
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to be intelligent and wants to be c
Page 201 and 202:
Beside God Our Father, I shall alwa
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Maslow, Abraham (2000).El Hombre Au
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elationship with someone, as client
Page 207 and 208:
2. The process: The termination eve
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Respondents' work experience : Resp
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discussing clients' progress with f
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• Other staff may not recognise p
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How many sessions? Responses varied
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* how therapeutic development may c
Page 219 and 220:
For some, negative responses includ
Page 221 and 222:
Music Therapy Perspectives 12(1) 20
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Music Therapy-Assisted Childbirth:
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The Mind-Body Connection The common
Page 227 and 228:
Doulas work from the waist up. That
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unsuspecting woman in labour can ad
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• Instrumental music lends itself
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conditioned response to the music.
Page 235 and 236:
The Four Essential I's of Music The
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We were rather delighted to discove
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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
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that pain patients often show a ver
Page 255 and 256:
For Todd (1992) musical motion does
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(sex: 14 female; age: 53.3 +/-8.9).
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4.2 Tempo Flexibility Test To exami
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conclude from this measure whether
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Figure 1 Therapy Outcome (3 tests o
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Figure 4 Expressiveness (3 tests of
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Figure 7 Interpersonal Problems of
Page 269 and 270:
Figure 10Musical Measure Tempo Fit
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8. References Auhagen, W. & Busch,
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Weisberg, J. N. & Keefe, F. J. (199
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In the Music Therapy session the el
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In group work, wide use of “ostin
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verbal communication. To summarise,
Page 281 and 282:
The time dedicated to improvisation
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understanding of the handicap (and
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movement. Repetition in this case t
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that do not allow him to effectivel
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of sounds already familiar to him (
Page 291 and 292:
Figure 11Music Excerpt #1 and #2 In
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From the beginning I found staff ex
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teaching abilities of others as the
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sometimes respond to institutional
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knowingly or unknowingly, metaphori
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verbal interventions with loud, dra
Page 303 and 304:
Holocaust Resource Coordinator for
Page 305 and 306:
Figure 14Musical Example 3 279
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Playing our part; the role of a mus
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nothing published on the subject of
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weeks, our work could be described
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they have been given something they
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In some cases, children who present
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speak very little throughout the gr
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• An observation that a child who
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eing more varied. In the “guitar
Page 323 and 324:
Impulsiveness • Does s/he find it
Page 325 and 326:
References Carter, E., & Oldfield,
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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
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demonstrated throughout our work wh
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like verbalised, being able to say
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• President of "Art and Psychiatr
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At the same time we communicate wit
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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
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understand the experience as a coun
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details so I will focus on aspects
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concept was valuable in understandi
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an agent of it. In health it is imb
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to them as twins. I suggested that
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.Jacob continued to present with ps
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accept comfort, gradually Jacob cat
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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
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condition, though it transpires tha
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progress from the regressed state.
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which is to be held. Balint believe
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y saying he was frightened, we play
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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
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value? What about the confused, agi
Page 419 and 420:
considered. In scientific method, t
Page 421 and 422:
Deterministic Chaos Chaos theory ex
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movement. This is deterministic cha
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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
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eings in order to produce therapeut
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BENENZON, Rolando. Teoria da Musico
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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
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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
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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
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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
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most unreachable moods, were lured
Page 663 and 664:
Address May GAERTNER 91 Rue Jacques
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phenomenological philosophy’s tea
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dialogue in a session of music ther
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voices, it is quite difficult to at
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and reflecting on the meaning of ps
Page 673 and 674:
future (which can no longer be perc
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In this perspective it becomes clea
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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
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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
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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
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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
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with concepts such as “physiologi
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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.
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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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