By Even Ruud, Mercedes Pavlicevic, Gary Ansdell
Song therapists from all over the world operating in traditional and unconventional settings have provided their contributions to this intriguing new ebook, providing lively dialogue and functional examples of the methods song treatment can replicate and inspire social swap. From operating with traumatized refugees in Berlin, care-workers and HIV/AIDS orphans in South Africa, to adults with neurological disabilities in south-east England and kids in paediatric hospitals in Norway, the participants current their international views on discovering new methods ahead in track remedy. Reflecting on conventional ways as well as those more recent practices, the writers supply clean perceptions on their identification and position as song therapists, their assumptions and attitudes approximately how tune, humans and context have interaction, the websites and limits to their paintings, and the recent probabilities for song treatment within the twenty first century. because the first ebook at the rising sector of neighborhood song treatment, this publication may be a necessary and fascinating learn for track therapists, experts and neighborhood musicians.
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Extra info for Community Music Therapy
But the risk was worth taking (or this chapter would not have been born) since it became clear that conventional music therapy skills were useful, but in a new way that needed to be negotiated. The first step was to listen (which music therapy training helps us to develop in specific, multi-layered and nuanced ways) to how the women might – or might not – need, want, or request music in a way different from that which they already created as a group. None of the other therapists had this dilemma, since neither art, massage not drama is part of Thembalethu’s group life, and counselling is a tangible practice and skill, recognized by the women as separate from who they are as persons, and clearly requested.
Music therapy theorists such as David Aldridge have 30 COMMUNITY MUSIC THERAPY long championed the idea that our identity and our health are performed in the world. And as Oksana Zharinova points out, if we work in culture-sensitive ways it follows that we acknowledge that for many clients from non-Western traditions, performing music is natural and a key part to performing their cultural identity. How could it not be part of the possible agenda of music therapy? As many chapters of this book show, performance situations often grow pragmatically out of the needs of patients and institutions.
This group had been set up to provide a time when the diverse people passing through the unit each week could stop and make music together as equals. At the core was a small set of regular members – patients who were involved in other parts of the programme – and staff. Each week this body of musicians would welcome a variety of newcomers to the music-making, whether new inpatients, visitors, students or staff. Our ethos of inclusion invariably attracted new members who were able to tap into the power of music to connect people.