By Tony Wigram, Inge Nygaard Pedersen, Lars OLE Bonde
Tune therapists, as in scientific and paramedical professions, have a wealthy range of techniques and strategies, frequently constructed with particular relevance to fulfill the wishes of a undeniable consumer inhabitants. This booklet displays the various elements of such variety, and is a completely complete advisor to gaining access to and knowing the guidelines, thought, study effects and scientific results which are the principles of this box.
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Additional resources for A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training
Music has no other meaning than the music itself. It is non-referential and independent of objects or emotions in the external world, and its ‘meaning’ is a matter of specific aesthetic events or processes governed by unique musical laws. The referentialist position (also called the theory of heteronomy). INTRODUCTION TO MUSIC THERAPY 37 Music represents, expresses or symbolizes phenomena outside the realm of music itself, but within the world of man: emotions, ideas, narratives etc. The meaning of music is closely related to those who produce and perform it, and music is a testimony of human life.
He suggests four main categories on a continuum from left (music therapy) to right (music profession): 1. clinical music therapy (surviving – coping – functioning – reacting) 2. educational music therapy (subconscious learning – contributing – growing – responding (aesthetic)) 3. music education (conscious learning – refining – focusing – responding (artistic)) 4. music profession (training – working – informing – performing). In conclusion, while the definition of music therapy that has at present been formulated by the WFMT is a very inclusive and all-embracing definition, variability is inevitable within different cultures and according to different traditions.
Ken Bruscia represents a different position. Based on his research in the meaning of therapeutic music improvisations (Bruscia 1987) as well as music experiences in receptive music therapy (Bruscia 1995) he has come to this conclusion: music is fundamentally a matter of music experiences – of meaning and beauty expressed in music. Music is both a specific historical and cultural phenomenon – and a universal phenomenon. ); on the other hand meaning may be inherent in the music in a universal, objective, context-independent way.