E-Book of Articles - World Federation of Music Therapy

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way? Description: etc.): Description: Which instrument? Raglio, Alfredo: Qualitative Research How was it used? In a conventional way? In a non-conventional Sound production of the patient (rhythmic, melodic, random, How does the patient react to stimulation (what body-sound-music associations, what rhythms, and what movements)? Has the patient shown any change? Which? (bodily modifications, body-sound-music associations, new musical elements, etc.): TABLE IX PROTOCOL F Data regarding the music therapist • State of mind of the music therapist before the session - indifferent - disappointed - gratified • State of mind of the music therapist during the session: - repulsion - tenderness - scorn - empathy - fear/rejection - enthusiasm - anxiety/doubt - pleasure/enjoyment • State of mind of the music therapist after the session: - indifferent - disappointed - gratified 166
• Prevailing tonic state (of the patient) - tension - relaxed • Prevailing tonic state (of the music therapist) - tension - relaxed Raglio, Alfredo: Qualitative Research Protocol F also included the state of mind of the music therapist before, during and after the session and the prevailing tonic state of the music therapist and the patient or the volunteer. The states of mind were individualized among the most frequent and defined in the context of the Music Therapy sessions: some negative such as repulsion, scorn, fear/rejection, anxiety/doubt, and others positive such as tenderness, empathy, enthusiasm, pleasure/enjoyment in decreasing order of intensity and of emotional importance. The contribution of these Protocols (Protocols E and F) to the research was fundamental because they made it possible to find contact points between the “objective” data (the numerical and sound-music data) and the “subjective” ones (the emotional ones). 167
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E-Book of Articles Music Therapy: A
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TABLE OF CONTENTS GARY HARA........
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TABLE OF CONTENTS QUALIFICATIONS OF
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Amir, Dorit: The Role Of Music Ther
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Introduction Bonde, Lars Ole: Analo
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Bonde, Lars Ole: Analogy And Metaph
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D'ulisse, M. E..: The Educational F
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D'ulisse, M. E..: The Educational F
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D'ulisse, M. E..: For the Training
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D'ulisse, M. E.. et al.: Music Ther
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D'ulisse, M. E.. et al.: A Music Th
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D'ulisse, M. E.. et al.: Applicatio
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Fachner, Jörg: The Musical Time-Sp
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• Aims: Brain Damage? • Methods
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Pre-THC-Gavg Fachner, Jörg: The Mu
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Summary and Conclusion Fachner, Jö
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Garcia, Maria: Forms Of Expression
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Page 159 and 160: THE PROTOCOLS TABLE IV Protocol A 3
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Page 179 and 180: PURPOSE OF THE STUDY Sabbatella, Pa
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Schulberg, Cecilia: Many Vioces In
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Sutton, Julie; Beyond the Ordinairy
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event Media (film crew reporting th
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Turry, Alan: Performance and Produc
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Wheeler, Barbara: WMFT Proceedings
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Accreditation Wheeler, Barbara: WMF
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Alabama U. of Alabama School of Mus
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Wartburg College School of Music 22
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SUNY-New Paltz Music Department- SU
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Michael Clark, MME, MT-BC Texas Sam
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CLINICAL STUDIES and PRACTICE group
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Interview The JVC Handbook states t
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Clinical training: 1040 hours Wheel
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Inge Nygaard Pedersen “The Music
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