E-Book of Articles - World Federation of Music Therapy

Turry, Alan: Performance and Product ....
goes on to say that some may be able to support themselves by performing.
She added that visually impaired clients need not become performers in
order to reap the benefits from music. She also described how ensembles,
such as community choirs, can be used therapeutically to cultivate self-
confidence and leadership abilities, and facilitate adjustment to school and
community for socially maladjusted adolescents.
Shulberg (1981) listed choral singing as an activity that can promote
socialization, and stated that the group could prepare a presentation to sing
to others. She has an entire chapter in her book on music therapy entitled,
“Musical Productions.” Shulberg believed that “when a production of any
sort is created and then brought to life by it’s creators, the performance
transmits their capacities for care, perception, and cooperation to the
audience, who also experience the commitment and sense of fulfillment of
these participants.” She was careful to state that the “production itself is
the means, not the end.”
In other types of adult facilities, performance also had successful
outcomes. Michel (1976) describes how men who were members of a popular
music combo in prison continued to play together as a commercial group
when they were released from prison.
Advanced Training
As music therapy training programs became interested in more depth-
oriented work, music therapists integrated process oriented philosophies
into their clinical practice. As therapists trained in more advanced ways, the
significance of performance and product became more fully understood.
Rather than having extrinsic music activities imposed on clients, therapists
came to value the music created intrinsically by clients. As the field
developed, the importance of reflective supervision to examine the
dynamics of the relationship between therapist and client helped bring
in the fields development.
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