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

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JOINING IN & TURN-TAKING - SINGING BYE- BYE - - - - - - - - - - - -- - - - - - - - - - - - - Later session involved turn-taking 'yes/no' games = increased sense of self/self-other autonomy and flexibility FUN! Extracts 9a and b Session 21, September 16, 1992 a) meeting 'difficult to engage' mood exaggerated 313 affect at physical-emotional level use of Spanish idiom! b) playful arpeggio pattern - staccato (visual & aurally musical effect)..He begins to imitate. NB use of index finger in playing. Extract 10 Session 24, October 5, 1992 1. Steven speaking to his mother - 'Mummy' and jargoning approximations of words, requesting her to play. 2. three-way interaction (developed over next 3 months) vocalising into horn, increased vocal range and intentionality of playing Extract 11 Session 40, April 26, 1993
MISSING SADNESS HIS MUMMY - EXPRESSING Separation anxiety contained via music meeting sadness; plus security of music's steady pulse at beginning of session; verbal acknowledgement of his feelings also contain. Extract 12 Session 43, June 7, 1992 HIDE AND SEEK Although using third person/our names, Steven shows aa clear sense of 'I' and 'you'. Extract 13 Session 44, June 14, 1993 314 STEVEN'S CAPACITY FOR COMPROMISE Steven can attend to his autistic interests and needs, while (reluctantly) engaging in the 'boring' social world: a goodbye song with the therapist. Note: he initiates language, maintains attention to his own and my interests, and spontaneously joins in a joyful, rather exasperated finale! - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Steven finished music therapy with me last week. In the autumn he will go to a school for autistic children. His school and speech therapy reports are very encouraging, particularly as regards:
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VII. Worldkongress of Music Therapy
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I. Clinical Music Therapy * I.- Mus
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I. CLINICAL MUSIC THERAPY MUSICOTER
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Mª FELICIANA ARGUEDA CARMONA 65 DI
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RUTH BRIGHT 318 THE CORRELATION BET
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GERARDO MANAROLO, MARCO GILARDONE &
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THE RELATIONSHIP BETWEEN EXCERPTS O
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LILIANA Mª D`ASERO, A. FOLGUERAS,
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"KINETIC MELODY" - MUSIC T'HERAPY A
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A SYSTEMS APPROACH TO THE INFLUENCE
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PETRI LEHIKOINEN 778 CLINICAL PRACT
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PROPOSAL OF A PROJECTIVE SOUND TEST
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UNIVERSAL DE TERAPIA MUSICAL: UN AC
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VOICE AS A MEANS OF EXPRESSING EMOT
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4.1.- SCHOOLS, METHODOLOGY, PROGRAM
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INTEGRATIVO DEL FENÓMENO DEL NIÑO
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I. CLINICAL MUSIC THERAPY / MUSICOT
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- it favours his/her social life (c
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therapeutic musical experiences fro
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- the psychomotorial therapist inte
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A Scientific Research is being carr
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es posible cualquier percepción. 3
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La ponencia estudia el papel que la
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de tratamiento integrado con musico
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Estos descubrimientos fueron el res
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Su comportamiento en la escuela era
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creativo clínico. La comunicación
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creativo autogestivo en clases de p
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"abreact", that is, to re-live and
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and motorsensory ones; that his sec
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Perhaps the vibrations, just as the
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and then slightly backwards. These
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containing some of our "bonding" mu
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Educar al deficiente auditivo, a tr
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información están disminuidas y p
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sonidos. b) Esquemas rítmicos y me
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BIBLIOGRAFÍA AIMAR, Paule y otros.
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estereotipados. Por lo tanto, como
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salud mental y la integridad del v
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tal. El autista lo convierte en un
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horas de la cotidianeidad. g) La in
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i) Metodología y Técnica: En el a
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I N T E R A C C I Ó N M Ú S I C A
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estadio incipiente de desarrollo, a
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transformación, asimilando y adapt
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aspecto motórico es una función p
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establecidos de la enseñanza rehab
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instrumentos de percusión por su p
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coordinados y nos dice que las acti
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C.- APLICACIÓN DE LA MÚSICA Y LA
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movilizarlas solamente flexionando
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principio y teniendo en cuenta la a
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Deficiencias melódicas: - No podí
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afectos y produciendo una respuesta
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A feature of our Center is that the
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one behave towards him, and why? Ho
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The theoretical reference model. Th
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come into action. At this point, wi
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daily life? She had difficulty in k
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shape during which the clients beco
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humana. Creemos que la variedad de
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Pero también creemos necesario par
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Causa de la sordera: Meningitis al
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Trabajos de extensión: - Lectura r
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HISTORY OF THE CASE G, is a son of
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he takes them up on his chest, He h
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SETTING The treatment began on Apri
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slapped himself. After these events
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producing sound (the slap), and the
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the stage box in order to hear the
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Lorenzetti L.M. “La ragione dei s
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* TRAINING - short courses and work
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· individual children with learnin
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esidents at one of the region's hos
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potential to be a very powerful soc
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We are presently having discussions
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physically handicapped children. Qu
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provoked and stimulated and movemen
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"Why?" is inevitable, especially wh
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2. MINIMOL We allways st song of No
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second year in the second class, an
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a single letter on each. Gareth eit
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the University, I wrote a detailed
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and play, whilst I finished my work
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them all. I tested him on the previ
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en el desarrollo orgánico, y/o emo
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internamente, para que se pueda des
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Por el clima sonoro familiar y soci
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trabajaba en ese momento- asumia la
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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
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a cuerpo - corazón a corazón, que
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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
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Milán 1984 9 - P. GARDEY, "Audiops
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Pixie told me that she soon realise
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was mute. So we decided to start Th
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ever played continually for over an
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Most of us live in two realities, t
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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
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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
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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
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La persona contacto decide cuánto
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moradores, es más adecuado el trab
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inteligencia y ahínco. Aprendió a
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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
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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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Page 265 and 266: econocían elementos simples de teo
Page 267 and 268: Los jóvenes mantienen sus hogares
Page 269 and 270: absoluto, o responde escasamente a
Page 271 and 272: 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: Steven re-engaging in reciprocal pl
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
Page 329 and 330: 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
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disorders (anorexia and bulimia ner
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En el trabajo con pacientes depresi
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M U S I C T H E R A P Y : D E S C R
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6) Una mejoría de la condición mo
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short period of time. The method ha
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player should not inform in advance
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the name etc. - with pointing the t
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such a performance of the music pro
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9) Material utilizado II - RESULTAD
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Pese a las grandes divergencias res
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E1 empleo de las actividades musico
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. Instrumentos musicales: los de la
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RJ. 1980 4 - Gaston. E. Thayer. Tra
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Esto nos hace pensar en el inicio d
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volverá en subjetivo. El cuerpo se
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Nueva Trova Cubana Silvio Rodriguez
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Estableceremos en primer lugar tres
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correspondiente. Luego de ese lapso
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... “E dice haberse movido mientr
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“Qué tendrá el petiso?” (Bail
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Datos Bibliográficos Bleger, José
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El escuchar, el asociar, el compone
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Música es sonidos, ruidos y silenc
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de sus símbolos. El contexto de es
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arrulladoras, detiene las vilacione
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naciente que exige una entonación
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S O N O R O - P L Á S T I C O E N
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e) Considerando los datos recogidos
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y melodias en torno de un único te
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color negro fue el mas requerido en
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espeto mutuo. La elaboracibn del ar
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vivencial los temas de los deseños
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WINNICOTT, D.W. O Brincar e a Reali
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Grieg - The morning Schumann - Reve
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Health Center, some annual statisti
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This music listening protocol was a
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sessions, a training packet, a vide
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Examinaré la utilización terapéu
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politraumatismos, post-operatorio-n
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I will be speaking to you today abo
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the ego, cause changes in mood and
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humano 15 (HIRSCH, 1966, pp. 9; ARV
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1.- Ofrecer un modo estructurado y
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que han crecido nuestros pacientes.
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La cuarta se refiere a la realizaci
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determinado ritmo con el ejercicio
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HIPOTESIS DE TRABAJO Con el ritmo m
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metodología eficaz de colaboració
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of the therapy input at the Centre.
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the desire to be in harmony. 5. Som
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yourself, sidestepping the problems
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consolidate this sense of cohesion
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mood k.therapeutic 2 1. spontaneity
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We have been gratified to note the
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2) Awakening phase: use of any phar
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G U I D E D I M A G E R Y A N D M U
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content of the imagery session is t
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movement) she identifies with stron
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through yellow muck in her cheek bo
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stages of development :- Anita, the
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Indonesia at that time instead of s
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ultimatum that it will let her go i
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The mandala for this session is ent
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M U S I C O T E R A P I A E N L A E
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Fue así que nos hicimos amigas y c
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sonidos musicales. Desde este modo
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desarrollo psico-físico infantil p
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(7) Ostwald, P.F., Soundmaking. Ed.
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del Hospital Israelita "Ezrah" de l
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inging it to conscious awareness le
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GIM is a holistic psychotherapy met
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obsesivas tendremos que ir a ahonda
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argentino, dice que desde este mome
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de las parejas organizará como eje
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auditivamente, desde el quinto mes
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preseleccionada. Haciendo un rastre
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anticipatorias de la frase musical
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papa y mama quieren verte bebe vos
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Estas ideas ambiguas, ambivalentes,
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Las ansiedades de los futuros padre
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development. Naturally-occuring ins
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and declare an exception. Their mot
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creatively manage their affect thro
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make contact with people. From birt
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New York: Harper and Row. Maslow, A
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This paper hiqhliqhts aspects of th
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legs restricted by hemiparesis of t
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NEGATIVE BEHAVIOURS: * agitated * a
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would give her the feedback that sh
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A MUSIC THERAPIST UNDER QUESTION -
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7. WOODCOCK. J . ( 1990) Communicat
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institutions of various kinds, they
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So this makes me a teacher and a th
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MUSIC IS FUN! Fun... music lessons.
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that his mind is distracted for a m
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they want to make music, it must be
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He compensates low self-appraisal w
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This resulted in the following. [ca
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ways in music and therapy ... I do
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supervision and preparatory researc
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Iris is in her late fifties, marrie
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memories; lying relaxed on a beach,
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lots of problems with the leg, did
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MD Kenny, C: The Mythic Artery, 198
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estético musical que el ruido blan
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READ, J. y col.: Fetal heart rate a
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otros signos externos: casa suntuos
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integrantes pueden "lanzarla" sobre
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misma sino en una sublimación crea
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miren en sus casas, que se reconozc
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cirugia ha obtenido en los últimos
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el que es necesario seguir investig
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y cirugía en sí. En el comienzo d
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crescendo) la cual consta de las mi
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internas generadas en la corteza ce
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y adolescentes con patologías psiq
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un circulo en un lugar determinado
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Esto se repitió con la Elección d
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musicoterapeuta utilizó cubos de p
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escucha sin que acusara recibo, se
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y por consiguiente las defensas fre
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for the past several years. St. Jud
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were expressed in drawings, such as
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- serving as a mental model for hea
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Personal hurts can be resolved and
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I believe that, as the imager is ex
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Music, like the universal symbol of
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influences body rhythms. Heart rate
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Gerrie's comment was that the speed
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ought him images symbolic of birth
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the great masses of the poor was ba
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For many, thoughts of their childre
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E F F E C T O F V I B R O A C O U S
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334 therapy sessions 22 . Fíndings
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Complaints: hypertension. Depressio
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Diastolic variations: Mean Diast. B
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and the reduction of symptoms exper
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unique frequency at the end of the
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2) It is necessary to provide data
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than three standard deviations grea
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medical treatment. Analyses by sex
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1991 ). • Kidney dialysis - Music
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Music Function: To focus attention
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Reinforce exercising (see Example 1
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Provide music and leave the room if
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deprivation in sterile environments
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esponses. Therapeutic Objectives:
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• Self-Report: Ratings of pleasur
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care in pregnancy and childbirth. O
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Hanser, S. B., Larson, S. C., & O'C
Page 665 and 666:
Oyama, T., Hatano, K., Sato, Y., Ku
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comparison across multiple dependen
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The music had to have an emotional
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As a resalt of these personal obser
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y the person that interested me, an
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answer some of these questions. How
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Music therapist interested in this
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INTRODUCCION "Era creencia general,
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Por lo general surgen varias reacci
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mejorar la calidad de vida personal
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CITAS BIBLIOGRAFICAS GHANDI. (1) GA
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1.3. On the basis of such hypothesi
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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
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Uno de los objetivos de esta invest
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F.- Experiencias relacionadas o fen
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discriminación auditiva y para eva
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Material y método: Sobre 140 pacie
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Los aspectos melódicos estan alter
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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
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20 SH 28 MASC ACVH BROCA * C C C 21
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II. MUSIC THERAPY AND EXPERIMENTAL
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temas éticos y formas de recopilac
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diferencias. La parte importante de
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A N T I - A N X I E T Y M U S I C A
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this topic: 1. Problems experienced
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subject" of the intervention. The o
Page 727 and 728:
The dissertation underlines the pot
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sino en substancia en su lógica co
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2.1.- PSYCHOLOGY AND MUSIC - PSICOL
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Besides the changes which are autom
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interpretar a nivel hablado. En otr
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la falta de una conceptualización
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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
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La música procesada es un término
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Evolutional Psychology Department.
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M E L O D Y : A N I N T E R N A T I
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personas. Pero para el, lo social a
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se centra en pruebas indirectas com
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especificidad del arte. No hay que
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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
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Naranja mec. 3.03 3.35 2.70 Apocaly
Page 771 and 772:
TABLA 5.- Efecto de la forma (banda
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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
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concern rythyms which are drawn fro
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profesión (como los terapeutas int
Page 781 and 782:
Desde el punto de vista psicológic
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las diferencias culturales, las ori
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music vibration. Seminal research w
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- Pregnancy - Often bleeding duoden
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music", "relaxing music", "analgesi
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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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