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E-Book of Articles - World Federation of Music Therapy

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Introduction<br />

Turry, Alan: Performance and Product ....<br />

Performance and Product: Clinical Implications for the <strong>Music</strong><br />

Therapist<br />

Alan Turry<br />

Can a music therapist be fully attending to the needs and issues <strong>of</strong><br />

their clients when performing with a client or group <strong>of</strong> clients? What<br />

happens when the therapy consists <strong>of</strong> or includes working towards a product<br />

such as a recording <strong>of</strong> music from sessions? How can we discern what clients<br />

can benefit from these experiences and when it may be contra-indicated? As<br />

the music therapy pr<strong>of</strong>ession has developed, the idea <strong>of</strong> therapists<br />

performing and creating products with clients has become a controversial<br />

subject. There are many issues to be aware <strong>of</strong> when integrating<br />

performance and creating products in our clinical work.<br />

Background 46<br />

When the field <strong>of</strong> music therapy was in its infancy, music therapists<br />

were <strong>of</strong>ten hired on lines that were previously relegated to recreation<br />

therapists or music teachers. 47 <strong>Music</strong> teachers in special education <strong>of</strong>ten did<br />

performances with their students, and music therapists struggled to<br />

establish their own pr<strong>of</strong>essional identity. Some therapists who were trained<br />

to use music in a recreational fashion were unaware that there were other<br />

considerations aside from the product. The music therapy literature<br />

contained research which described how clients “performed.” <strong>Music</strong> was<br />

46 Though I have done some research in discussing the historical development <strong>of</strong> performance and<br />

product in music therapy, I admit that some <strong>of</strong> the ideas I am presenting are conjecture, based on my<br />

analysis <strong>of</strong> the situation rather than first hand accounts.<br />

47 Ruppenthal, one <strong>of</strong> the founders <strong>of</strong> the NAMT and one <strong>of</strong> the first registered music therapists to work<br />

in psychiatry, described a battle (that he eventually won) over maintaining his autonomy rather than<br />

being part <strong>of</strong> a centralized department with occupational and recreational therapists. He describes some<br />

<strong>of</strong> the events in his program as rhythm bands, church choirs, and vocal and instrumental ensembles.<br />

246

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