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

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GRACIELA CINTRA GOMES, JACQUELINE VERDEAU-PAILLES, ELEUTERIO GOMES DE AQUILAR Y TERESA PAULA LEITE 1042 MUSIC THERAPIE : ART-THERAPIE OU PSYCHOTHERAPIE1049 R. FORESTIER 1049 IN SEARCH OF THE GOOD EAR : SOME THOUGHTS ON POST-GRADUATE MUSIC THERAPY TRAINING 1058 SARAH HOSKYNS 1058 LA MUSICOTERAPIA DENTRO DE UN CURSO DE FORMACIÓN PERMANENTE DEL PROFESORADO, Y COMO ASIGNATURA EN EL NUEVO PLAN DE ESTUDIOS DE PSICOPEDAGOGÍA, CON METODOLOGÍA A DISTANCIA1068 PILAR LAGO CASTRO 1068 PROFESSIONAL PROFILE OF THE MUSIC THERAPIST IN ITALY: THOUGHTS AND PROPOSALS 1087 PIER LUIGI POSTACHINI Y MARZIA MANCINI 1087 LA EXPRESION CORPORAL EN IA FORMACION DEL MUSICOTERAPEUTA 1101 29 GREGORIO TISERA 1101 LA ACTIVIDAD DE MUSICOTERAPIA EN CREI-SANTS: UN MODELO DE FORMACION E INTERVENCION 1118 FELICIANO CASTILLO ANDRÉS Y M. DOLORES TORRES JORDI1118 4.2.- TRAINING DESIGNS IN EVERY SUBJECT - DISEFIOS INTERDISCIPLINARIOS DE FORMATION (ABSTRACTS) 1134 CREATING THE ROLE OF THE MUSIC THERAPIST ON THE BASIS OF THEORETICAL-PRACTICAL-LEARNING IN THE INTERACTION BETWEEN OBSERVATION-SUPERVISION- APPLICATION IN MENTAL DISABILITY / FORMACIÓN DEL MUSICOTERAPEUTA A PARTIR DEL PROCESO DE APRENDIZAJE TEÓRICO-PRÁCTICO EN LA INTERACCIÓN- OBSERVACIÓN-SUPERVISIÓN. APLICACIÓN EN LA DISCAPACIDAD MENTAL 1135 IRIS MARIANA COCHIA & RICARDO RODRIGUEZ 1135 PSYCHODYNAMIC, INTEGRATIVE WORK WITH THE PHENOMENON OF THE INNER CHILD EXPRESSED AND REFLECTED THROUGH BODY, VOICE AND MUSIC INSTRUMENTS / TRABAJO PSICODINÁMICO E
INTEGRATIVO DEL FENÓMENO DEL NIÑO INTERNO EXPRESADO Y REFLEJADO A TRAVÉS DEL CUERPO, LA VOZ E INSTRUMENTOS MUSICALES 1136 INGE NYGAARD PEDERSEN 1136 4.2. - TRAINING DESIGNS IN EVERY SUBJECT - DISEFIOS INTERDISCIPLINARIOS DE FORMATION (CONFERENCE HANDOUTS)1137 UN MODELO DE MUSICOTERAPIA PARA LA SALUD. UN ESPACIO DIFERENTE PARA PENSAR LA REALIDAD 1137 AIZENWASER, MARCELO BIANCHEDI, JULIO FAINGUERSCH Y ROBERTO SEVILLA 1137 SELF EXPERIENCE FOR STUDENTS AS A METODOLOGY - A COMPULSORY PART OF THE MUSIC THERAPY PROGRAM AT AALBORG UNIVERSITY. 1146 INGE NYGAARD PEDERSEN 1146 4.3.- THE MUSIC THERAPIST ROLE IN THE INSTITUTION - EL "ROL " DEL MUSICOTERAPEUTA EN LAS INSTITUCIONES (CONFERENCE HANDOUTS) 1165 30 ATENCIÓN FLUCTUANTE MUSICAL: UNA REFLEXIÓN RESPECTO AL PAPEL DEL MUSICOTERAPEUTA 1166 MARCIA MARIA DE SILVA CIRIGLIANO 1166 ENCUADRE: ¿LIMITANTE O PERMISOR? 1175 DIEGO SCHAPIRA 1175 LAS PRINCIPALES IDEAS QUE SUSTENTAN EL EJERCICIO PROFESIONAL DEL MUSICOTERAPEUTA EN LA ARGENTINA. 1186 GABRIELA WAGNER Y Mª CELIA PÉREZ 1186 4.4.- PROFESSIONAL PROFILE OF THE MUSIC THERAPIST - PERFILPROFESIONAL DEL MUSICOTERAPEUTA (ABSTRACTS) 1238 MUSIC THERAPY IN BELGIUM / LA MUSICOTERAPIA EN BÉLGICA 1238 JOS DE BACKER 1238 4.4. - PROFESSIONAL PROFILE OF THE MUSIC THERAPIST - PERFILPROFESIONAL DEL
Page 1 and 2: VII. Worldkongress of Music Therapy
Page 3 and 4: I. Clinical Music Therapy * I.- Mus
Page 5 and 6: I. CLINICAL MUSIC THERAPY MUSICOTER
Page 7 and 8: Mª FELICIANA ARGUEDA CARMONA 65 DI
Page 9 and 10: RUTH BRIGHT 318 THE CORRELATION BET
Page 11 and 12: GERARDO MANAROLO, MARCO GILARDONE &
Page 13 and 14: THE RELATIONSHIP BETWEEN EXCERPTS O
Page 15 and 16: LILIANA Mª D`ASERO, A. FOLGUERAS,
Page 17 and 18: "KINETIC MELODY" - MUSIC T'HERAPY A
Page 19 and 20: A SYSTEMS APPROACH TO THE INFLUENCE
Page 21 and 22: PETRI LEHIKOINEN 778 CLINICAL PRACT
Page 23 and 24: PROPOSAL OF A PROJECTIVE SOUND TEST
Page 25 and 26: UNIVERSAL DE TERAPIA MUSICAL: UN AC
Page 27 and 28: VOICE AS A MEANS OF EXPRESSING EMOT
Page 29: 4.1.- SCHOOLS, METHODOLOGY, PROGRAM
Page 33 and 34: I. CLINICAL MUSIC THERAPY / MUSICOT
Page 35 and 36: - it favours his/her social life (c
Page 37 and 38: therapeutic musical experiences fro
Page 39 and 40: - the psychomotorial therapist inte
Page 41 and 42: A Scientific Research is being carr
Page 43 and 44: es posible cualquier percepción. 3
Page 45 and 46: La ponencia estudia el papel que la
Page 47 and 48: de tratamiento integrado con musico
Page 49 and 50: Estos descubrimientos fueron el res
Page 51 and 52: Su comportamiento en la escuela era
Page 53 and 54: creativo clínico. La comunicación
Page 55 and 56: creativo autogestivo en clases de p
Page 57 and 58: "abreact", that is, to re-live and
Page 59 and 60: and motorsensory ones; that his sec
Page 61 and 62: Perhaps the vibrations, just as the
Page 63 and 64: and then slightly backwards. These
Page 65 and 66: containing some of our "bonding" mu
Page 67 and 68: Educar al deficiente auditivo, a tr
Page 69 and 70: información están disminuidas y p
Page 71 and 72: sonidos. b) Esquemas rítmicos y me
Page 73 and 74: BIBLIOGRAFÍA AIMAR, Paule y otros.
Page 75 and 76: estereotipados. Por lo tanto, como
Page 77 and 78: salud mental y la integridad del v
Page 79 and 80: tal. El autista lo convierte en un
Page 81 and 82:
horas de la cotidianeidad. g) La in
Page 83 and 84:
i) Metodología y Técnica: En el a
Page 85 and 86:
I N T E R A C C I Ó N M Ú S I C A
Page 87 and 88:
estadio incipiente de desarrollo, a
Page 89 and 90:
transformación, asimilando y adapt
Page 91 and 92:
aspecto motórico es una función p
Page 93 and 94:
establecidos de la enseñanza rehab
Page 95 and 96:
instrumentos de percusión por su p
Page 97 and 98:
coordinados y nos dice que las acti
Page 99 and 100:
C.- APLICACIÓN DE LA MÚSICA Y LA
Page 101 and 102:
movilizarlas solamente flexionando
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principio y teniendo en cuenta la a
Page 105 and 106:
Deficiencias melódicas: - No podí
Page 107 and 108:
afectos y produciendo una respuesta
Page 109 and 110:
A feature of our Center is that the
Page 111 and 112:
one behave towards him, and why? Ho
Page 113 and 114:
The theoretical reference model. Th
Page 115 and 116:
come into action. At this point, wi
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daily life? She had difficulty in k
Page 119 and 120:
shape during which the clients beco
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humana. Creemos que la variedad de
Page 123 and 124:
Pero también creemos necesario par
Page 125 and 126:
Causa de la sordera: Meningitis al
Page 127 and 128:
Trabajos de extensión: - Lectura r
Page 129 and 130:
HISTORY OF THE CASE G, is a son of
Page 131 and 132:
he takes them up on his chest, He h
Page 133 and 134:
SETTING The treatment began on Apri
Page 135 and 136:
slapped himself. After these events
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producing sound (the slap), and the
Page 139 and 140:
the stage box in order to hear the
Page 141 and 142:
Lorenzetti L.M. “La ragione dei s
Page 143 and 144:
* TRAINING - short courses and work
Page 145 and 146:
· individual children with learnin
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esidents at one of the region's hos
Page 149 and 150:
potential to be a very powerful soc
Page 151 and 152:
We are presently having discussions
Page 153 and 154:
physically handicapped children. Qu
Page 155 and 156:
provoked and stimulated and movemen
Page 157 and 158:
"Why?" is inevitable, especially wh
Page 159 and 160:
2. MINIMOL We allways st song of No
Page 161 and 162:
second year in the second class, an
Page 163 and 164:
a single letter on each. Gareth eit
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the University, I wrote a detailed
Page 167 and 168:
and play, whilst I finished my work
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them all. I tested him on the previ
Page 171 and 172:
en el desarrollo orgánico, y/o emo
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internamente, para que se pueda des
Page 175 and 176:
Por el clima sonoro familiar y soci
Page 177 and 178:
trabajaba en ese momento- asumia la
Page 179 and 180:
L A P O S I B L E M E T A M O R F O
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equeriente y en una cultura general
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los dos casos escogidos, en este se
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fónico de las acciones. Estas mism
Page 187 and 188:
a cuerpo - corazón a corazón, que
Page 189 and 190:
expresiva. El gesto llamado por el
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pensamientos. (de "COSMICOMICHE" [C
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casos tónicamente congelados en ac
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"improvisación", adherente a los c
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astaba aflojar un poquito la presi
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Es igualmente claro que no he usufr
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12.- En algunos momentos en los que
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Sin lugar a dudas, ha sido de notab
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anteriormente éramos nosotros que
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portadora de handicap medio-graves
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colchón mismo pero a un mayor cont
Page 211 and 212:
Milán 1984 9 - P. GARDEY, "Audiops
Page 213 and 214:
Pixie told me that she soon realise
Page 215 and 216:
was mute. So we decided to start Th
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ever played continually for over an
Page 219 and 220:
Most of us live in two realities, t
Page 221 and 222:
I believe the music has added anoth
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M U S I C , A N X I E T Y A N D T H
Page 225 and 226:
Each subject was rated at baseline
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asleep. The treatment took place at
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ehaviours during the second and thi
Page 231 and 232:
12 Reiber M. The effect of music on
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esponsabilidades, para con las pers
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mental severa. Sus edades oscilan e
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23 horas, para comenzar descansados
Page 239 and 240:
La persona contacto decide cuánto
Page 241 and 242:
moradores, es más adecuado el trab
Page 243 and 244:
inteligencia y ahínco. Aprendió a
Page 245 and 246:
M U S I C O T E R A P I A : A B O R
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en la manera de “lidiar” con es
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sonidos y de nuestra propia escucha
Page 251 and 252:
Se trata de una información import
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muchas veces sean colocados límite
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movimientos de la musicoterapeuta o
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música que ella proporciona) pone
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SYSTEMATIC OBSERVATIONS OF RELATION
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anxiety and more participation.Thes
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expresión libre y placentera del s
Page 265 and 266:
econocían elementos simples de teo
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Los jóvenes mantienen sus hogares
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absoluto, o responde escasamente a
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constantemente y aumenta la motivac
Page 273 and 274:
misma película en otra actividad m
Page 275 and 276:
adaptabilidad a las posibilidades d
Page 277 and 278:
disminución de los movimientos de
Page 279 and 280:
función específica. Poseemos un e
Page 281 and 282:
LUTZ (1968), BETTLEHEIM (1948, 1950
Page 283 and 284:
freeexpression. c) Research on the
Page 285 and 286:
After nine month, according to the
Page 287 and 288:
If this is so, we have a vicious ci
Page 289 and 290:
2) Sedation: These children need, d
Page 291 and 292:
eality, at the same time. Fot this
Page 293 and 294:
A.- The child relations with: a) Fa
Page 295 and 296:
Intantil: Folklórico: Música pop:
Page 297 and 298:
THERAPEUTIC POSSIBILITIES IN AUTISM
Page 299 and 300:
on the latent capacities of this ch
Page 301 and 302:
F A C I L I T A T I N G B A S I C E
Page 303 and 304:
Colwyn Trevarthen, states that the
Page 305 and 306:
transference issues. This supports
Page 307 and 308:
seem to lack the coordination of se
Page 309 and 310:
O/H 1. Steven was born, the second
Page 311 and 312:
Extracts 3 and 4 Session 8, Februar
Page 313 and 314:
Steven re-engaging in reciprocal pl
Page 315 and 316:
MISSING SADNESS HIS MUMMY - EXPRESS
Page 317 and 318:
visual, sense, motor disorders, pro
Page 319 and 320:
M U S I C T H E R A P Y I N D E M E
Page 321 and 322:
música y, por lo tanto, a menudo e
Page 323 and 324:
Los resultados de este estudio indi
Page 325 and 326:
situations of their daily life, inc
Page 327 and 328:
R E S I S T E N C E I N M U S I C T
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A N X I E T Y A N D P L A Y I N G /
Page 331 and 332:
lisping). 6) Particular substance w
Page 333 and 334:
tolerance do we need! Es mi intenci
Page 335 and 336:
psychotherapeutic treatments of sch
Page 337 and 338:
2. The afasia group. Activities: as
Page 339 and 340:
of Music as a form of human interac
Page 341 and 342:
therapeutically process the child's
Page 343 and 344:
La suposición que un idioma espec
Page 345 and 346:
caer en el error de considerar que
Page 347 and 348:
elación con las experiencias de la
Page 349 and 350:
Considero que se produjeron modific
Page 351 and 352:
En un taller de dos horas de duraci
Page 353 and 354:
Second, there is a speech rehabilit
Page 355 and 356:
se ilustra con ejemplos en vídeo o
Page 357 and 358:
of the observed chosen as markers o
Page 359 and 360:
alcanzados a nivel de comunicación
Page 361 and 362:
M U S I C T H E R A P Y I N F O R E
Page 363 and 364:
Gestures, looks, mimicking, body im
Page 365 and 366:
disorders (anorexia and bulimia ner
Page 367 and 368:
En el trabajo con pacientes depresi
Page 369 and 370:
M U S I C T H E R A P Y : D E S C R
Page 371 and 372:
6) Una mejoría de la condición mo
Page 373 and 374:
short period of time. The method ha
Page 375 and 376:
player should not inform in advance
Page 377 and 378:
the name etc. - with pointing the t
Page 379 and 380:
such a performance of the music pro
Page 381 and 382:
9) Material utilizado II - RESULTAD
Page 383 and 384:
Pese a las grandes divergencias res
Page 385 and 386:
E1 empleo de las actividades musico
Page 387 and 388:
. Instrumentos musicales: los de la
Page 389 and 390:
RJ. 1980 4 - Gaston. E. Thayer. Tra
Page 391 and 392:
Esto nos hace pensar en el inicio d
Page 393 and 394:
volverá en subjetivo. El cuerpo se
Page 395 and 396:
Nueva Trova Cubana Silvio Rodriguez
Page 397 and 398:
Estableceremos en primer lugar tres
Page 399 and 400:
correspondiente. Luego de ese lapso
Page 401 and 402:
... “E dice haberse movido mientr
Page 403 and 404:
“Qué tendrá el petiso?” (Bail
Page 405 and 406:
Datos Bibliográficos Bleger, José
Page 407 and 408:
El escuchar, el asociar, el compone
Page 409 and 410:
Música es sonidos, ruidos y silenc
Page 411 and 412:
de sus símbolos. El contexto de es
Page 413 and 414:
arrulladoras, detiene las vilacione
Page 415 and 416:
naciente que exige una entonación
Page 417 and 418:
S O N O R O - P L Á S T I C O E N
Page 419 and 420:
e) Considerando los datos recogidos
Page 421 and 422:
y melodias en torno de un único te
Page 423 and 424:
color negro fue el mas requerido en
Page 425 and 426:
espeto mutuo. La elaboracibn del ar
Page 427 and 428:
vivencial los temas de los deseños
Page 429 and 430:
WINNICOTT, D.W. O Brincar e a Reali
Page 431 and 432:
Grieg - The morning Schumann - Reve
Page 433 and 434:
Health Center, some annual statisti
Page 435 and 436:
This music listening protocol was a
Page 437 and 438:
sessions, a training packet, a vide
Page 439 and 440:
Examinaré la utilización terapéu
Page 441 and 442:
politraumatismos, post-operatorio-n
Page 443 and 444:
I will be speaking to you today abo
Page 445 and 446:
the ego, cause changes in mood and
Page 447 and 448:
humano 15 (HIRSCH, 1966, pp. 9; ARV
Page 449 and 450:
1.- Ofrecer un modo estructurado y
Page 451 and 452:
que han crecido nuestros pacientes.
Page 453 and 454:
La cuarta se refiere a la realizaci
Page 455 and 456:
determinado ritmo con el ejercicio
Page 457 and 458:
HIPOTESIS DE TRABAJO Con el ritmo m
Page 459 and 460:
metodología eficaz de colaboració
Page 461 and 462:
of the therapy input at the Centre.
Page 463 and 464:
the desire to be in harmony. 5. Som
Page 465 and 466:
yourself, sidestepping the problems
Page 467 and 468:
consolidate this sense of cohesion
Page 469 and 470:
mood k.therapeutic 2 1. spontaneity
Page 471 and 472:
We have been gratified to note the
Page 473 and 474:
2) Awakening phase: use of any phar
Page 475 and 476:
G U I D E D I M A G E R Y A N D M U
Page 477 and 478:
content of the imagery session is t
Page 479 and 480:
movement) she identifies with stron
Page 481 and 482:
through yellow muck in her cheek bo
Page 483 and 484:
stages of development :- Anita, the
Page 485 and 486:
Indonesia at that time instead of s
Page 487 and 488:
ultimatum that it will let her go i
Page 489 and 490:
The mandala for this session is ent
Page 491 and 492:
M U S I C O T E R A P I A E N L A E
Page 493 and 494:
Fue así que nos hicimos amigas y c
Page 495 and 496:
sonidos musicales. Desde este modo
Page 497 and 498:
desarrollo psico-físico infantil p
Page 499 and 500:
(7) Ostwald, P.F., Soundmaking. Ed.
Page 501 and 502:
del Hospital Israelita "Ezrah" de l
Page 503 and 504:
inging it to conscious awareness le
Page 505 and 506:
GIM is a holistic psychotherapy met
Page 507 and 508:
obsesivas tendremos que ir a ahonda
Page 509 and 510:
argentino, dice que desde este mome
Page 511 and 512:
de las parejas organizará como eje
Page 513 and 514:
auditivamente, desde el quinto mes
Page 515 and 516:
preseleccionada. Haciendo un rastre
Page 517 and 518:
anticipatorias de la frase musical
Page 519 and 520:
papa y mama quieren verte bebe vos
Page 521 and 522:
Estas ideas ambiguas, ambivalentes,
Page 523 and 524:
Las ansiedades de los futuros padre
Page 525 and 526:
development. Naturally-occuring ins
Page 527 and 528:
and declare an exception. Their mot
Page 529 and 530:
creatively manage their affect thro
Page 531 and 532:
make contact with people. From birt
Page 533 and 534:
New York: Harper and Row. Maslow, A
Page 535 and 536:
This paper hiqhliqhts aspects of th
Page 537 and 538:
legs restricted by hemiparesis of t
Page 539 and 540:
NEGATIVE BEHAVIOURS: * agitated * a
Page 541 and 542:
would give her the feedback that sh
Page 543 and 544:
A MUSIC THERAPIST UNDER QUESTION -
Page 545 and 546:
7. WOODCOCK. J . ( 1990) Communicat
Page 547 and 548:
institutions of various kinds, they
Page 549 and 550:
So this makes me a teacher and a th
Page 551 and 552:
MUSIC IS FUN! Fun... music lessons.
Page 553 and 554:
that his mind is distracted for a m
Page 555 and 556:
they want to make music, it must be
Page 557 and 558:
He compensates low self-appraisal w
Page 559 and 560:
This resulted in the following. [ca
Page 561 and 562:
ways in music and therapy ... I do
Page 563 and 564:
supervision and preparatory researc
Page 565 and 566:
Iris is in her late fifties, marrie
Page 567 and 568:
memories; lying relaxed on a beach,
Page 569 and 570:
lots of problems with the leg, did
Page 571 and 572:
MD Kenny, C: The Mythic Artery, 198
Page 573 and 574:
estético musical que el ruido blan
Page 575 and 576:
READ, J. y col.: Fetal heart rate a
Page 577 and 578:
otros signos externos: casa suntuos
Page 579 and 580:
integrantes pueden "lanzarla" sobre
Page 581 and 582:
misma sino en una sublimación crea
Page 583 and 584:
miren en sus casas, que se reconozc
Page 585 and 586:
cirugia ha obtenido en los últimos
Page 587 and 588:
el que es necesario seguir investig
Page 589 and 590:
y cirugía en sí. En el comienzo d
Page 591 and 592:
crescendo) la cual consta de las mi
Page 593 and 594:
internas generadas en la corteza ce
Page 595 and 596:
y adolescentes con patologías psiq
Page 597 and 598:
un circulo en un lugar determinado
Page 599 and 600:
Esto se repitió con la Elección d
Page 601 and 602:
musicoterapeuta utilizó cubos de p
Page 603 and 604:
escucha sin que acusara recibo, se
Page 605 and 606:
y por consiguiente las defensas fre
Page 607 and 608:
for the past several years. St. Jud
Page 609 and 610:
were expressed in drawings, such as
Page 611 and 612:
- serving as a mental model for hea
Page 613 and 614:
Personal hurts can be resolved and
Page 615 and 616:
I believe that, as the imager is ex
Page 617 and 618:
Music, like the universal symbol of
Page 619 and 620:
influences body rhythms. Heart rate
Page 621 and 622:
Gerrie's comment was that the speed
Page 623 and 624:
ought him images symbolic of birth
Page 625 and 626:
the great masses of the poor was ba
Page 627 and 628:
For many, thoughts of their childre
Page 629 and 630:
E F F E C T O F V I B R O A C O U S
Page 631 and 632:
334 therapy sessions 22 . Fíndings
Page 633 and 634:
Complaints: hypertension. Depressio
Page 635 and 636:
Diastolic variations: Mean Diast. B
Page 637 and 638:
and the reduction of symptoms exper
Page 639 and 640:
unique frequency at the end of the
Page 641 and 642:
2) It is necessary to provide data
Page 643 and 644:
than three standard deviations grea
Page 645 and 646:
medical treatment. Analyses by sex
Page 647 and 648:
1991 ). • Kidney dialysis - Music
Page 649 and 650:
Music Function: To focus attention
Page 651 and 652:
Reinforce exercising (see Example 1
Page 653 and 654:
Provide music and leave the room if
Page 655 and 656:
deprivation in sterile environments
Page 657 and 658:
esponses. Therapeutic Objectives:
Page 659 and 660:
• Self-Report: Ratings of pleasur
Page 661 and 662:
care in pregnancy and childbirth. O
Page 663 and 664:
Hanser, S. B., Larson, S. C., & O'C
Page 665 and 666:
Oyama, T., Hatano, K., Sato, Y., Ku
Page 667 and 668:
comparison across multiple dependen
Page 669 and 670:
The music had to have an emotional
Page 671 and 672:
As a resalt of these personal obser
Page 673 and 674:
y the person that interested me, an
Page 675 and 676:
answer some of these questions. How
Page 677 and 678:
Music therapist interested in this
Page 679 and 680:
INTRODUCCION "Era creencia general,
Page 681 and 682:
Por lo general surgen varias reacci
Page 683 and 684:
mejorar la calidad de vida personal
Page 685 and 686:
CITAS BIBLIOGRAFICAS GHANDI. (1) GA
Page 687 and 688:
1.3. On the basis of such hypothesi
Page 689 and 690:
fundamental aid in any situation of
Page 691 and 692:
weeks of life. All the mothers have
Page 693 and 694:
4.5. It is important that the activ
Page 695 and 696:
- G.M. ROSSI, Introduzione alla voc
Page 697 and 698:
Uno de los objetivos de esta invest
Page 699 and 700:
F.- Experiencias relacionadas o fen
Page 701 and 702:
discriminación auditiva y para eva
Page 703 and 704:
Material y método: Sobre 140 pacie
Page 705 and 706:
Los aspectos melódicos estan alter
Page 707 and 708:
comprometida en 11 de los 41 pacien
Page 709 and 710:
comparatively showing their little
Page 711 and 712:
Neuropsychologia, 9 97-113, 1971 (1
Page 713 and 714:
20 SH 28 MASC ACVH BROCA * C C C 21
Page 715 and 716:
II. MUSIC THERAPY AND EXPERIMENTAL
Page 717 and 718:
temas éticos y formas de recopilac
Page 719 and 720:
diferencias. La parte importante de
Page 721 and 722:
A N T I - A N X I E T Y M U S I C A
Page 723 and 724:
this topic: 1. Problems experienced
Page 725 and 726:
subject" of the intervention. The o
Page 727 and 728:
The dissertation underlines the pot
Page 729 and 730:
sino en substancia en su lógica co
Page 731 and 732:
2.1.- PSYCHOLOGY AND MUSIC - PSICOL
Page 733 and 734:
Besides the changes which are autom
Page 735 and 736:
interpretar a nivel hablado. En otr
Page 737 and 738:
la falta de una conceptualización
Page 739 and 740:
strategies developed. In research i
Page 741 and 742:
para la potencialidad orgánica de
Page 743 and 744:
Cuando nos centramos en la psicoter
Page 745 and 746:
mental, lo que significa que el tem
Page 747 and 748:
* ¿Es la música un lenguaje de la
Page 749 and 750:
La música procesada es un término
Page 751 and 752:
Evolutional Psychology Department.
Page 753 and 754:
M E L O D Y : A N I N T E R N A T I
Page 755 and 756:
personas. Pero para el, lo social a
Page 757 and 758:
se centra en pruebas indirectas com
Page 759 and 760:
especificidad del arte. No hay que
Page 761 and 762:
diferentes de forma consecutiva per
Page 763 and 764:
Se efectuaron una serie de análisi
Page 765 and 766:
Respecto a la primera película no
Page 767 and 768:
Segmentos de películas Condición
Page 769 and 770:
Naranja mec. 3.03 3.35 2.70 Apocaly
Page 771 and 772:
TABLA 5.- Efecto de la forma (banda
Page 773 and 774:
contradicción provoca una mejor id
Page 775 and 776:
T H E P H E N O M E N O L O G I C A
Page 777 and 778:
concern rythyms which are drawn fro
Page 779 and 780:
profesión (como los terapeutas int
Page 781 and 782:
Desde el punto de vista psicológic
Page 783 and 784:
las diferencias culturales, las ori
Page 785 and 786:
music vibration. Seminal research w
Page 787 and 788:
- Pregnancy - Often bleeding duoden
Page 789 and 790:
music", "relaxing music", "analgesi
Page 791 and 792:
prolonged music listening on oxygen
Page 793 and 794:
observable behaviour. Objective stu
Page 795 and 796:
participated in the test. Our work
Page 797 and 798:
R I T M O S B A S E S P A R A E L D
Page 799 and 800:
una seria investigación científic
Page 801 and 802:
son situaciones ansiógenas que si
Page 803 and 804:
de la experiencia demostraron ser b
Page 805 and 806:
Cuarenta sujetos, que durante el ti
Page 807 and 808:
people`s health and well-being; cau
Page 809 and 810:
S O N O R O P A R A L A E V O L U C
Page 811 and 812:
ased, such as: - audio Power of lis
Page 813 and 814:
S O U N D S , C O L O U R S A N D P
Page 815 and 816:
los últimos siendo probados a trav
Page 817 and 818:
Peace and the worldwide role of mus
Page 819 and 820:
Medicine (IJAM) has taken its place
Page 821 and 822:
poet, who in the course of his spir
Page 823 and 824:
music therapy, discipline which has
Page 825 and 826:
from the GRID of boxes on a compute
Page 827 and 828:
possessed an electronic digital pia
Page 829 and 830:
avoided verbal interchanges with th
Page 831 and 832:
up a piece of music about the sadne
Page 833 and 834:
(pressure sensors, strain gauges et
Page 835 and 836:
- Among the resources we believe we
Page 837 and 838:
greatly in spite of the generosity
Page 839 and 840:
Calabria = 1 Piemonte = 22 Campania
Page 841 and 842:
way, glean the intrinsic and extrin
Page 843 and 844:
subject. C. to take part in cultura
Page 845 and 846:
people", "from one person to anothe
Page 847 and 848:
service without its being given pub
Page 849 and 850:
The thought of creating a unitary n
Page 851 and 852:
Therapy Vol 2 No1) "Music and Softw
Page 853 and 854:
suck/blow mechanisms, touch screens
Page 855 and 856:
own musical potential, about the ex
Page 857 and 858:
notes potentiated (between one and
Page 859 and 860:
John Calder 1977. p. 176. 2. WILSON
Page 861 and 862:
La esfera trágica propicia al trab
Page 863 and 864:
Símbolos: distinguir éstos nos pe
Page 865 and 866:
musicoterapeutas de hoy sientan la
Page 867 and 868:
M U S I C A L : U N A C E R C A M I
Page 869 and 870:
"El corazón es una perla que mira
Page 871 and 872:
perfectamente delimitados. Quizás
Page 873 and 874:
Dentro de las más avanzadas metodo
Page 875 and 876:
M U S I C T H E R A P Y I N A C O N
Page 877 and 878:
- Musicoterapia y expresión escén
Page 879 and 880:
2.1.2. Registro psico-f isiológico
Page 881 and 882:
lenguaje córporo-sonoromusical es
Page 883 and 884:
elación con los demás.El cuerpo h
Page 885 and 886:
todos los pueblos y culturas, 8.1.2
Page 887 and 888:
primero vaga e indefinida, a la que
Page 889 and 890:
o territorio por una parte y la exp
Page 891 and 892:
independientemente de sus dimension
Page 893 and 894:
LORENZ, Konrad - Das soaenannte Bos
Page 895 and 896:
Pierre Schaeffer: "La música es la
Page 897 and 898:
dicho que el material significante
Page 899 and 900:
Dijimos hasta aquí 1) Que existe u
Page 901 and 902:
Es importante hacer un pequeño par
Page 903 and 904:
música. Puede, claro está, ser as
Page 905 and 906:
estéticas es de donde podemos move
Page 907 and 908:
mañana, se alimenta de si misma y
Page 909 and 910:
Bateson, G. Bateson, Mary C. E1. te
Page 911 and 912:
The regression, produced through so
Page 913 and 914:
epresentative and of their descript
Page 915 and 916:
magic formulas, recall rhytmic work
Page 917 and 918:
feelings, a vent otherwise impossib
Page 919 and 920:
mandala") gives an image of unity-e
Page 921 and 922:
Piaget J., La nascita dell'intellig
Page 923 and 924:
A continuacion describiré la mejor
Page 925 and 926:
corporal. * B. AREA DEL LENGUAJE SO
Page 927 and 928:
En el hombre,el lenguaje verbal ade
Page 929 and 930:
* A. AREA DEL LENGUAJE CORPORAL * A
Page 931 and 932:
* B.e. DISEÑOS MELODICOS Es capaz
Page 933 and 934:
T H E O R I G I N S O F M U S I C T
Page 935 and 936:
infringed certain taboos and thus e
Page 937 and 938:
moderate tempo suited to a relaxed
Page 939 and 940:
The Demon Song represents the heali
Page 941 and 942:
ain-areas than that done by a singl
Page 943 and 944:
pain), and what he terms Endorphine
Page 945 and 946:
Patient (mostly seated or lying dow
Page 947 and 948:
ut also in order to block, or delay
Page 949 and 950:
Both can be traced back to ancient
Page 951 and 952:
781, 1976. 9. Foster,G.M. & Anderso
Page 953 and 954:
health system (B0, 1989). In Norway
Page 955 and 956:
health work. He underlines that hea
Page 957 and 958:
clients possibility for growth and
Page 959 and 960:
After some time we also worked with
Page 961 and 962:
Music School also was conductor of
Page 963 and 964:
cultural activities, profylactic he
Page 965 and 966:
Monsen, Nina Karin (1987): Det elsk
Page 967 and 968:
No existe una norma estable de vali
Page 969 and 970:
entonces ni Y0 soy Y0 ni TU eres TU
Page 971 and 972:
ealidad. Una de las necesidades má
Page 973 and 974:
tras una patologia mental que encie
Page 975 and 976:
1. Música 2. Pintura 3. Contar his
Page 977 and 978:
costumbres y tradiciones también j
Page 979 and 980:
llevamos dentro. R E S O N A N C E
Page 981 and 982:
La voz es el primer canal que toma
Page 983 and 984:
habilidad social y musical. Los suj
Page 985 and 986:
Song Sensitation@ es un método de
Page 987 and 988:
T R A N S F E R E N C E I N T H E M
Page 989 and 990:
Este taller se ofrece a los musicot
Page 991 and 992:
experience moments of your life, me
Page 993 and 994:
We will work on the concept of synt
Page 995 and 996:
communication (for exemple the "lal
Page 997 and 998:
different lights, benefitting both
Page 999 and 1000:
The link between Musictherapy and P
Page 1001 and 1002:
W H E R E T H E R A P Y A N D E D U
Page 1003 and 1004:
Objetivos: 1. Acercamiento al conce
Page 1005 and 1006:
These two extreme and diametrally o
Page 1007 and 1008:
able to became therapists - the abi
Page 1009 and 1010:
Interest in the training of music t
Page 1011 and 1012:
The music therapeutist must the ref
Page 1013 and 1014:
S A B E R O N O S A B E R A C E R C
Page 1015 and 1016:
abocarnos al intento de refutación
Page 1017 and 1018:
teorización en el exigente camino
Page 1019 and 1020:
de alcanzar ese objetivo particular
Page 1021 and 1022:
efiriendo a lo mismo cuando hablamo
Page 1023 and 1024:
investigación, donde ya han sido c
Page 1025 and 1026:
como son las dramatizaciones sonora
Page 1027 and 1028:
La teoria es tranquilizadora porque
Page 1029 and 1030:
Bibliografía ALTHUSSER, Louis. SOB
Page 1031 and 1032:
who will receive the non-verbal or
Page 1033 and 1034:
methodology about professional trai
Page 1035 and 1036:
transferencia y contratransferencia
Page 1037 and 1038:
B. Integración de competencias en
Page 1039 and 1040:
itself, the more is able to experie
Page 1041 and 1042:
decide about his own life, since hi
Page 1043 and 1044:
Ontopsychology and its fundamental
Page 1045 and 1046:
for music educators to work in cent
Page 1047 and 1048:
II The training program as it is no
Page 1049 and 1050:
In the field of special education (
Page 1051 and 1052:
des Techniques Artistiques en Péda
Page 1053 and 1054:
L'Art qui favorise l'expression bé
Page 1055 and 1056:
pas Léonard de Vinci. C'est l'idé
Page 1057 and 1058:
nuance trouve sa matiere dans la co
Page 1059 and 1060:
4 - ART ET THERAPIE AU-JOURD'HUI -
Page 1061 and 1062:
y the quality of Carol Robbins list
Page 1063 and 1064:
trainee therapist might well learn
Page 1065 and 1066:
However, the course of training aim
Page 1067 and 1068:
task and then reflect with the grou
Page 1069 and 1070:
References Bruscia, K. (1987) Profe
Page 1071 and 1072:
2. Programas Profesorado de Formaci
Page 1073 and 1074:
Didáctica, Orientaciones Pedagógi
Page 1075 and 1076:
habla, han visto en la Música un r
Page 1077 and 1078:
Como podemos observar, el abanico d
Page 1079 and 1080:
enseñanza a distancia, y dadas las
Page 1081 and 1082:
Como se puede entender, los Medios
Page 1083 and 1084:
utilización de uno u otro medio de
Page 1085 and 1086:
consulta importante, ya que casi to
Page 1087 and 1088:
Psicopedagogia. El momento se nos p
Page 1089 and 1090:
understand Our own approach to this
Page 1091 and 1092:
- D P R 24 July 1977 n 616, which d
Page 1093 and 1094:
psychomotory retardment and learnin
Page 1095 and 1096:
the users; c) to promote and safegu
Page 1097 and 1098:
staff itself. The teachers, in this
Page 1099 and 1100:
IV. Principles for a formative curr
Page 1101 and 1102:
therapist. This work will allow the
Page 1103 and 1104:
2. PERCEPCION Nosotros percibimos n
Page 1105 and 1106:
totalidad del potencial somato-psiq
Page 1107 and 1108:
corporales. El provocar voluntariam
Page 1109 and 1110:
7. EXPRESION CORPORAL EN LA CLINICA
Page 1111 and 1112:
factores el biologico y el cultural
Page 1113 and 1114:
10.1. REPRESENTACION GRAFICA DEL ES
Page 1115 and 1116:
sostiene que " todo lo viviente tie
Page 1117 and 1118:
proceso psicobiológico con tecnica
Page 1119 and 1120:
L A A C T I V I D A D D E M U S I C
Page 1121 and 1122:
Los niños que acuden a CREI-SANTS
Page 1123 and 1124:
establecimiento de una etapa pre-ex
Page 1125 and 1126:
Actividades en CREISANTS Diagnósti
Page 1127 and 1128:
Ofrecer otras alternativas terapéu
Page 1129 and 1130:
intervención en musicoterapia que
Page 1131 and 1132:
corporal, plástico y verbal, éste
Page 1133 and 1134:
hora y media de encuentro visualiza
Page 1135 and 1136:
comunidad universitaria, nos es pos
Page 1137 and 1138:
A. Presentación de video B. Articu
Page 1139 and 1140:
aprendizajes especificos en el áre
Page 1141 and 1142:
años: El Cuerpo, La Cómunicación
Page 1143 and 1144:
epetir y no a crear'' y que no tien
Page 1145 and 1146:
tocar y narrar el cuento. 3) Mi viv
Page 1147 and 1148:
Prof. Vida B. de Aizenwaser, Lic. M
Page 1149 and 1150:
Therefore I think it is important f
Page 1151 and 1152:
Aalborq Universitv (DK). The Master
Page 1153 and 1154:
The first three years the students
Page 1155 and 1156:
Composition and arragement tecnique
Page 1157 and 1158:
Example 1 + 2) These two pieces of
Page 1159 and 1160:
- your development will be evaluate
Page 1161 and 1162:
other hand the individual therapist
Page 1163 and 1164:
alanced way between rationality and
Page 1165 and 1166:
Casement, P.: "Lyt til patienten".
Page 1167 and 1168:
MUSICOTERAPEUTA EN LAS INSTITUCIONE
Page 1169 and 1170:
Sigmund Freud, creador del psicoan
Page 1171 and 1172:
que los utilizan, en la tentativa d
Page 1173 and 1174:
establecimiento de una "reacción s
Page 1175 and 1176:
verbal o musical, va a priorizarse
Page 1177 and 1178:
mismo que aprendi en la facultad?;
Page 1179 and 1180:
puerta del consultorio, cuando lleg
Page 1181 and 1182:
el encuadre?. Si hablamos de un esp
Page 1183 and 1184:
una "vocación de sacrificio" en ha
Page 1185 and 1186:
Suele ocurrir -al menos en los llam
Page 1187 and 1188:
Si pensamos en un encuadre en music
Page 1189 and 1190:
El objetivo del presente trabajo es
Page 1191 and 1192:
de musicoterapeutas. 2.3.De autores
Page 1193 and 1194:
. Referencias bibliográficas. . Pr
Page 1195 and 1196:
1.1. Area de desempeño profesional
Page 1197 and 1198:
. Terapia intensiva . Pacientes ter
Page 1199 and 1200:
Stone y Church, Freud, M. Klein Ges
Page 1201 and 1202:
. Las características y el nivel d
Page 1203 and 1204:
prolongación del cuerpo y de objet
Page 1205 and 1206:
ealizarse el II Congreso Mundial de
Page 1207 and 1208:
la hipótesis de la existencia de c
Page 1209 and 1210:
En el periodo que denominaremos "Ap
Page 1211 and 1212:
Los trabajos presentados o publicad
Page 1213 and 1214:
de enseñanza era explicitada por l
Page 1215 and 1216:
La musicoterapia en el area predomi
Page 1217 and 1218:
Ej. el término "objeto intermediar
Page 1219 and 1220:
En 1986, una de las autoras asumió
Page 1221 and 1222:
como abordaje terapéutico en la at
Page 1223 and 1224:
sonoro-musical de la danza a partir
Page 1225 and 1226:
As, Arg. AIZENVASER, Vida B. de (19
Page 1227 and 1228:
musicoterapia".2da.parte Ed.Barry B
Page 1229 and 1230:
Guadalupe. Bs.As. Arg. EPSTEIN, Hel
Page 1231 and 1232:
Nación Suplemento Literario Doming
Page 1233 and 1234:
musicoterapia en el tratamiento de
Page 1235 and 1236:
coadyuvante en la recuperación de
Page 1237 and 1238:
SERRONI-COPELLO, Raúl (1986) Hacia
Page 1239 and 1240:
4.4.- PROFESSIONAL PROFILE OF THE M
Page 1241 and 1242:
care. But despite these differences
Page 1243 and 1244:
* informal, spontaneous "compositio
Page 1245 and 1246:
about such things will depend on th
Page 1247 and 1248:
Bringing music and therapy together
Page 1249 and 1250:
Does this client respond best to vo
Page 1251 and 1252:
attitudes built into us in childhoo
Page 1253 and 1254:
eing by such sharing. It is also im
Page 1255 and 1256:
Music Therapists must see themselve
Page 1257 and 1258:
helped music therapists improve the
Page 1259 and 1260:
think that this is nothing out of t
Page 1261 and 1262:
other professionals involved with a
Page 1263 and 1264:
great detail not only by the superv
Page 1265 and 1266:
not be. The child might look away a
Page 1267 and 1268:
As the number of music therapists i
Page 1269 and 1270:
P R O F E S S I O N A L I S A T I O
Page 1271 and 1272:
travelling healers. Many of which w
Page 1273 and 1274:
legislation not free these occupati
Page 1275 and 1276:
much relevence to music therapy pra
Page 1277 and 1278:
Larkin G (1983) Occupational Monopo
Page 1279 and 1280:
other professionals * The situation
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23.7. 1993 Vitoria-Gasteiz / Spain - World Federation of Music Therapy

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