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

I do not intend to describe the music therapy process in
any more detail at this stage. I would however. like to
p1ay a short extract f'rom a session approximately one
year into therapy as a way of summarizing the therapy
process.
PLAY TAPE 2 : I call this Kate's song.
What I heard was a surprising comparison from the
harsh and distressing vocalisations of the first session
to an extraordinary refinement and totally different
application of Kate's vocal abilities. Kate uses pitch.
ínitiations at the ends ot phrases and appears to be
developing a mayor communicative skill for herself.
When you consider- the time context for recovery and
rehabilitation in brain injury patients it seems that Kate
has really achieve a something.
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I think of Kate's vocalisations as comprising of 'singing"
and 'verbal " elements. The 'verbal" components being
those expressions which use less pitch and do not
promote the impression of musical phrasing.
Considering the 'singing" input it seems that she is able
to use rhythm. contrasts of tone and also to include
some emotional content. ln reflection of Bright's
description of the typical head injury voice which is:
"a flat dead voice. which lacks inflexion. emphasis or
rhythm.” (Bright 1980) it would seem that Kate is doing
quite well at her communication skills. I do concede that
I am stretching the definition of voice to include Kate's
sounds but it is perhaps something that therapists are
entitled to do as long as they recognize that this form of
conceptualizing is for the purposes ot identifying a
model or another way of understanding their patient.