A Practical Guide for Creative Clinical Strategies
Author: Bradford P. Keeney
Publisher: Guilford Press
In this unusual volume, Bradford Keeney depicts psychotherapy as a performing art. Emphasizing the advantages of improvising one's own therapeutic style, he presents a host of tried-and-true strategic interventions, a short course on brief intervention design, a way of "scoring' conversations with clients much like one would score music, a collection of therapeutic moves, and chapters on creating one's own clinical design. As such, IMPROVISATIONAL THERAPY is a book that will be valued by all who do clinical work.
Clinical Improvisation Techniques in Music Therapy: A Guide for Students, Clinicians and Educators provides a clear and systematic approach to understanding and applying improvisational techniques. It is inspired by the taxonomy of clinical improvisation techniques as described by Kenneth Bruscia in his book, Improvisational Models of Music Therapy. Based on years of their own experimenting with the teaching of improvisation, the authors have evolved a particular developmental sequence for introducing basic techniques of improvising and applying them through role-play exercises that have been sensitively designed to bring out one’s innate musicality and one’s empathic regard. Part One provides an introduction to the techniques. Part Two focuses on how to apply the techniques with clinical intent in order to meet the diverse needs of a client, individually or in the context of a group. This section also addresses the need to enrich one’s own musicianship by providing musical resources, relevant references and guidelines for working with client’s playing. This “hands-on” guide fulfills the need for a clear process-oriented approach to mastering clinical improvisation techniques, and in a style that can be understood not only by music therapy students, clinicians and educators but also by health care administrators and providers alike.
A general theory on the role of analogy in music therapy, explaining how a person can use music to "sound" his or her self, and how the self interacts with the environment. The values of analogy are examined in terms of the differences between representing human experience through language versus music. The author demonstrates how the concept of analogy can be used in formulating treatment goals and interventions, evaluating the effectiveness of treatment, and developing rationales about treatment and effectiveness. Qualitative research is advocated.
Methods and Techniques for Music Therapy Clinicians, Educators, and Students
Author: Tony Wigram
Publisher: Jessica Kingsley Publishers
Improvisation plays a key role in the toolbox of the music therapist. Tony Wigram's practical and comprehensive guide and online content will prove indispensable to students, teachers, therapists and musicians as a book of musical techniques and therapeutic methods. Beginning with an overview of developing, teaching and analysing the skills of improvisation, Wigram describes techniques ranging from warming up to mirroring, rhythmic grounding, containing and holding. With specific sections on piano improvisation, chordal and 2-, 3- and 4- note improvisation are covered, in addition to advanced skills such as frameworking and transitions. Wigram also includes techniques for thematic improvisation, group improvisation and outlines methods for analysing and reporting improvisational processes. Notated examples allow readers to try out techniques and progress as they read, with audio examples on the accompanying online content adding another dimension to the structure and guidance provided for all levels of music student and therapist.
The implementation of clinical improvisation depends on the music therapist's ability to interpret the client's moment-to-moment musical expressions and to respond in a meaningful fashion. The client's focus of attentions is listed as an indicator for therapists to follow in the music therapy literature. This study used empirical data from the clients' self-reports to compare with the therapist's interpretation scores on their focus of attentions using a research designed questionnaire (Joint Improvisation Questionnaire). The correlations of paired scores on different items in the questionnaire show the degree of understanding the therapist has on different areas of focus. The sample consisted of 83 (N =83) adults who are not in a clinical setting and are able to attend the Radford University campus. The results indicated that the therapist was only able to differentiate social cues or concerns of participants during the joint improvisation, but not intentions directly related to musical elements. The areas examined by the Joint Improvisation Questionnaire include ways to approach musical elements, creativity, enjoyment, appreciation, meaning making, and concerns during music engagement.
This book traces the conception of systemic theory and how it continues to be adapted by various theorists and therapists in the treatment of families. The philosophy of the book seeks to encourage students to consider themselves as part of the systems with which they work, and to respect their own strengths and personalities even as they encourage clients to do the same. The theme of this book points out that although each theory that it discusses has its own value for working with families, some are more or less effective for specific populations, cultures and issues.
The thesis put forward in this book is that a dialogical perspective as found in the work of Martin Buber can be used as a frame for conceptualizing music-centered music therapy--or rather, for music as therapy, which is the term used here. Some might claim there is no such thing as "music as therapy," and that the only real therapy is some already established mode of therapy in which music plays a subordinate part (i.e., "music in therapy). In this book, the attempt is to show a different picture, one which includes also the possibility of music as therapy, that is to say, therapy based on qualities of the medium itself. A particularly much-debated issue has been whether verbal processing is necessary for actual therapy to take place. This book presents and discusses some of the crucial issues involved, and develops a theory to bring out potentials of an experiential, transformative music therapy, in which verbal processing, talking cure style, is not necessarily incorporated. Examples are given of improvisational music therapy, community-oriented practices, and receptive, listening-based music therapy.
This publication is an elaboration of two questions. What do want to say? And, how do you want to say it? The author believes that professional communications are a form of advocacy and not merely informational with his observations directed, particularly, to all music therapists.
While more and more certified music therapists appear to be using improvisational methods, few published resources exist to guide training and development, especially at the undergraduate/entry level. This unprecedented book provides clinicians, educators, and trainers with knowledge-based and skill-based competencies in group improvisation leadership and a suggested sequence for instruction in these specific competencies.
A long-awaited revision of the classic 1977 text that laid the foundations for the development of their pioneering improvisational practice of music therapy. It is a large book of nineteen chapters and over 500 pages with almost 5 hours of clinical work on four CDs that accompany the print book, or with the same audio files embedded in an enhanced e-book. Included are clinical examples of music therapy with twenty-four variously disabled children, 5 comprehensive case studies, detailed illustrations, notational examples and discussions of clinical and musical techniques, 3 evaluation scales, and a complete set of improvisation techniques.
A Guide to the History, Theoretical Approaches, Assessment, and Work with Special Populations of Art, Play, Dance, Music, Drama, and Poetry Therapies
Author: Stephanie L. Brooke
Publisher: Charles C Thomas Pub Limited
The Creative Arts Therapies Manual: A Guide to the History, Theoretical Approaches, Assessment, and Work with Special Populations of Art, Play, Dance, Music, Drama, and Poetry Therapies, edited by Stephanie L. Brooke, Ph.D. NCC, a nationally and internationally known author, is a unique contribution to the field of the creative arts therapies. It covers art, play, dance/movement, music, drama, and poetry therapies. Specifically, each of these creative disciplines is broken down into the following categories: history of the field, theoretical approaches, assessments, and work with special populations. No such book exists to this date which covers these critical areas in the creative arts therapies. The most well known, famous therapists in these creative arts therapies fields have contributed chapters to this manual. This distinctive handbook will be useful for creative arts therapists, mental health professionals, psychologists, counselors, educators, and students who are interested in these fields or use these disciplines as their main or their adjunct approach to working with clients.