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E-raamat: Receptive Methods in Music Therapy: Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students

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  • Formaat: EPUB+DRM
  • Ilmumisaeg: 15-Dec-2006
  • Kirjastus: Jessica Kingsley Publishers
  • Keel: eng
  • ISBN-13: 9781846425851
  • Formaat - EPUB+DRM
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  • Formaat: EPUB+DRM
  • Ilmumisaeg: 15-Dec-2006
  • Kirjastus: Jessica Kingsley Publishers
  • Keel: eng
  • ISBN-13: 9781846425851

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Grocke (music therapy, U. of Melbourne, Australia) and Wigram (music therapy, U. of Aalborg, Denmark) provide a discussion of the use of receptive listening methods and techniques that clinicians, educators, and students can use in music therapy. The techniques and methods outlined are grounded in evidence-based practice and focus on those used by music therapists, with examples of case material. Methods include music relaxation for children and adults, imaginal listening, song and lyric discussion, song reminiscence, listening based on the client's preferred music, appreciation activities, music collage, and somatic and eurhythmic listening. Each method contains a description of what is involved, scripts, what skills need to be developed, sessions, procedures, and contraindications, as well as appropriate music selections, mostly from the Western classical tradition. Annotation ©2007 Book News, Inc., Portland, OR (booknews.com)

Arvustused

this book now presents us with an opportunity to discover the huge range of practice in receptive music therapy. The authors offer their receptive music therapy methods with conviction and the book could be a real challenge to orthodox thinking and teaching in the UK. Listening to music forms part of many sessions anyway: perhaps it is time to include consciously this "third arm" of music therapy. -- British Journal of Music Therapy This is an extremely practical book, which will be very helpful to students who may believe that they require a precise and pragmatic step by step guide for facilitating different types of music therapy sessions. This was especially evident in most chapters emphasising the verbal relaxation inductions. Every detail has been considered to ensure the successful application of each method including contra-indicators when necessary when necessary. -- Community Living Magazine Denise Grocke and Tony Wigram are to be congratulated for addressing how the music therapist applies music listening as a therapeutic tool. Because every music therapy encounter involves receiving music in some way, it is exceedingly challenging to describe the role of receptive music in a single volume. Yet, the authors succeed in providing an excellent compendium of techniques that are part of the music therapist's repertoire. Students and professionals will be well-served by this essential guidebook on the practice of receptive music therapy. The authors have contributed an important text, affirming, once again, their expertise in the field of music therapy. -- Nordic Journal of Music Therapy While I take the perspective of a music therapy educator and strongly recommend this text for all students, I also see myself as a life long learner and this book has provided me with new and inspiring methods organized in such a way as to function as a reference text, Each chapter stands alone so the student/therapist can flick to relevant parts easily. As the first book of its kind on receptive methods in music therapy, this book will serve many needs of all music therapists and students. -- Australian Journal of Music Therapy This book offers a thought provoking insight into the powerful and therapeutic effect of music, not just for music therapists but for all those interested in music and the application of art therapies. -- Community Living

Foreword 11(2)
Professor Cheryl Dileo
Introduction 13(2)
Evidence-based practice in receptive music therapy
15(1)
Receptive methods in music therapy
15(1)
Definitions of receptive music therapy
16(1)
Overview of the book
17(2)
Ethical guidelines
19(1)
Engaging with Clients Verbally and Musically
20(25)
Beliefs and values that impact on interaction with patients
20(5)
Verbal processing of client's experiences in music therapy
25(16)
Empathic improvisation for non-verbal clients
41(3)
Conclusion
44(1)
Selecting Music for Receptive Methods in Music Therapy
45(16)
Differences between music for relaxation and music for stimulating imagery
45(2)
The characteristics of music for receptive music therapy
47(6)
Other considerations when selecting music for receptive methods
53(2)
Assessing a music selection for suitability
55(1)
Choice of music for particular patient/client groups and ages
56(2)
Guidelines for using recorded music in the hospital environment
58(2)
Conclusion
60(1)
Relaxation and Receptive Methods for Children and Adolescents
61(28)
Introduction
61(1)
Receptive music therapy for hospitalised children and adolescents: setting the scene
62(2)
Receptive music therapy for hospitalised young children
64(4)
Receptive music therapy for hospitalised older children
68(5)
Relaxation for children with sleep difficulties in a psychiatric setting
73(4)
Receptive music therapy for children in palliative care
77(2)
Receptive music therapy for young hospitalised adolescent patients
79(2)
Receptive music therapy in the classroom
81(4)
Relaxation for older adolescents
85(4)
Receptive Methods and Relaxation for Adults
89(38)
Introduction
89(1)
Theoretical framework
89(1)
Establishing an environment that is conductive to relaxation with music
90(2)
Therapeutic skills for facilitating a relaxed state in the client
92(2)
Music selection
94(1)
Relaxation inductions
95(1)
Short relaxation
95(2)
Structured/count-down relaxation induction
97(1)
Autogenic-type relaxation
98(2)
Colour induction (with colour)
100(2)
`Light' relaxation inductions
102(2)
Progressive muscle relaxation (PMR) (based on Jacobson 1938)
104(1)
Clinical Examples
105(1)
Hospitalised adult clients
105(3)
Relaxation for older adults
108(5)
Relaxation in palliative care: a group context
113(2)
Adaptation of relaxation in palliative care: case example
115(2)
Relaxation and music for patients in cardiac rehabilitation
117(5)
Conclusion
122(1)
Contraindications
123(1)
Music selections
123(4)
Music, Visualisations and Imagery
127(29)
Why use visualisations/imagery in conjunction with music?
127(1)
Visualisations and directed music imaging
128(1)
Assessing a client's suitability for music and imagery methods
128(1)
Visualisations
129(1)
Bringing the visualisation to an end
130(1)
Directed music imaging
131(1)
Managing a negative experience to an imagery script
132(2)
Unguided music imaging (UMI) and group music and imagery (GrpMI)
133(1)
Types of imagery experiences
134(2)
Assessing a client's suitability for methods that involve self-generated imagery
136(1)
Unguided music imaging
136(3)
Group music and imagery
139(3)
Music selections for unguided music imaging and group music and imagery
142(1)
Applications of group music and imagery
143(8)
Guided music imaging (GMI)
148(3)
Interventions for short pieces of music
151(1)
Applications of GMI
152(2)
Unguided and guided music and imagery in medicine
154(2)
Conclusion
156(1)
Song Lyric Discussion, Reminiscence and Life Review
156(23)
Introduction and definitions
157(1)
Song lyric discussion (SLD)
158(12)
Who can benefit from song lyric discussion?
170(6)
Song reminiscence in aged care settings
176(1)
Music life review
176(2)
Conclusion
178(1)
Note
178(1)
Perceptual Listening and Musical Appreciation
179(16)
Introduction
179(1)
Principles in evaluating the value of recorded music for clients
180(1)
Suitability and cautions in selecting and playing music
180(1)
Protocol for the use of recorded music for listening in individual and group work
181(4)
Influencing factors
185(1)
Recorded music as part of the music therapy programme for people with intellectual disability
186(1)
Choice of music: a clinical/research example
187(6)
Summary
193(1)
Notes
194(1)
Receptive Music Therapy and Art Media
195(19)
Music collage
195(13)
Music therapy and collage with bereaved children
208(3)
Music, drawing and narrative (MDN)
211(2)
Conclusion
213(1)
Vibroacoustic Therapy in Receptive Music Therapy
214(22)
Introduction
214(1)
Basic theory
214(3)
Clinical applications
217(3)
Method of intervention and clinical procedures
220(5)
Frequency and duration of sessions
225(1)
Choice of music used in vibroacoustic treatment
226(1)
Contraindications
227(2)
Clinical applications of vibroacoustic therapy
229(2)
Conclusion
231(1)
Classical music selections for vibroacoustic therapy: discography
232(4)
Music and Movement
236(22)
Introduction
236(1)
Clients with physical disabilities
236(6)
Music and movement protocol
242(12)
Conclusion
254(4)
References 258(6)
The Authors 264(2)
Subject Index 266(5)
Author Index 271


Denise Grocke is Associate Professor and Head of Music Therapy at the University of Melbourne, Victoria, Australia. She directs the undergraduate and graduate programmes in music therapy and the Graduate Diploma in Guided Imagery and Music (Bonny Method), and is Director of the National Music Therapy Research Unit. She is co-editor of two books, and author of many chapters and articles on music therapy and Guided Imagery and Music. She is a former President of the World Federation of Music Therapy and a current member of the Advisory Board of the doctoral program in music therapy at the University of Aalborg, Denmark. Tony Wigram was Professor and Head of PhD Studies in Music Therapy at the University of Aalborg, Denmark, Honorary Research Fellow in the Faculty of Music at the University of Melbourne, Australia, and Reader in Music Therapy at Anglia Ruskin University, Cambridge, UK. He was Associate Editor of the Nordic Journal of Music Therapy, and a former President of both the European Music Therapy Confederation and the World Federation of Music Therapy. He was also Head Music Therapist at the Harper Children's Service in Hertfordshire, UK, and Research Advisor to Hertfordshire Partnership NHS Trust.