23.7. 1993 Vitoria-Gasteiz / Spain - World Federation of Music Therapy

task and then reflect with the group leader (who is a
counsellor and professional chamber musician) on the
dymamics brought up in their musical collaborations.
This process draws attention to attending and feeling
within a purelymusical setting, stretching their
understanding of the relationship between music and
therapy.
3. A lecture course initiated by Juliette Alvin, the
course's founder, and developed by Leslie Bunt, on
paring down individual sounds into the constituent
elements of timbre, pitch, duration intensity and
loudness. This happens early on in training and I think
really helps students to isolate their listening attention to
simple and vital detail in clinical work.. It also
encourages them to ask questions about how the
clients listen to and perceive their offered music.
1066
I would like to play some brief examples of listening and
playing with students on this year's course in their
clinical improvisation sessions. Depending on timing I
will play 3 examples:
- A music therapy student on her principal study flute,
acting as music al accompanist to fellow students on
percussion
- An exploration of a child's musical game on violin
- A music therapy student on piano developing a client
theme in her own individual improvisation
In conclusion, I am a new head of music therapy training
in an old debate. In a chapter describing issues of
professional identity in music therapy edueation, Ken