By Tony Wigram, Inge Nygaard Pedersen, Lars OLE Bonde
Song therapists, as in scientific and paramedical professions, have a wealthy variety of ways and techniques, usually built with particular relevance to fulfill the wishes of a definite purchaser inhabitants. This ebook displays the various elements of such range, and is a completely finished consultant to getting access to and figuring out the tips, conception, learn effects and medical results which are the rules of this box.
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Extra info for A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training
The aims of the therapy in any one of these situations will vary. However, the approach of the therapist may not. Therefore there are a variety of definitions of music therapy depending on the philosophy or approach of the practitioner or group of practitioners. Some examples might include: • Behavioural music therapy, where the therapist is using music to increase, or modify, appropriate behaviour and to reduce or eliminate bad or INTRODUCTION TO MUSIC THERAPY 31 inappropriate behaviours. In these situations, music may be used as a positive or negative reinforcement.
See Jørgensen 1988). In the 1920s and 1930s new theories were developed from a Gestalt point of view, in USA by Mursell (1937) among others, and in Germany by Kurth, who pioneered a shift of paradigms with his holistic Musikpsychologie (1931). Kurth did not reject classical tone psychology; however, he wanted to see it in a new context: sub-components and single perceptions should be understood within the ‘flowing’ totality of ‘music as experienced’. Kurth’s psychology of music is in fact a general theory of music, a systematic theory of musical phenomena and the psychological experience of ‘power, energy, tension, volume and mass’ in music.
Composer–performer–listener or client–therapist. Music can be a direct expression of a client’s emotions, or a musical representation – symbolic or metaphorical – of spiritual or complicated psychological states and conditions, or the musical expression can be an analogy to the client’s being-in-the-world (D. Aldridge 1996a; Bruscia 1994, 1998a; Pavlicevic 1997; Smeijsters 1999). 3. Yes, music can have meaning even if it cannot be expressed in words. This ‘tacit knowledge’ or ‘inexpressible meaning’ can be found at different levels.
A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training by Tony Wigram, Inge Nygaard Pedersen, Lars OLE Bonde