Category Archives: Music Therapy

PhD as Improvised Mountain Walking

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 (Photo  – Reaching the top of the mountain Meeknoken on Averoy, West-Coast of Norway).

Taking the high road, taking the low road, the research map is not set but improvised, keep writing, wondering and climbing.

I am nearly half way through this PhD journey, it still excites me and requires an inordinate amount of determination to keep going. Having walked many mountains in Wales and Norway during my twenties, I often think of research like walking. The top of the mountain constantly looks closer than it is, there is always a point when you need to push yourself, it’s important to have provisions and to drink from cool mountain streams.

Having now completed seven interviews, transcriptions, graphic scores and analysis, the participant’s voices resound in my head, like musical leitmotifs. I can conjour up the sound of their voices in a moment. Their experiences fill my mind and I keep wondering where exactly this research is taking us. I feel I am finally starting to understand what the research journey is about; listening, wondering, going backwards and forwards, round in circles, letting the map change and being prepared for your knowledge and life view to expand.

I am sure in the future I will look back and see just how much this research journey is changing me personally. Curiously I find my creativity expanding, a new flexibility in my bass-playing fingers, and the art work more fluid and loose. As an accompaniment to this journey new songs have been written and art work bubbles away underneath. I hope to reach the top of the PhD ‘Meekknoken’ in a couple of years, but know rain, brambles, swarms of insects and unmarked paths are all the hazzards along the way!

 

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An Improvisatory Approach to Learning Instruments

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How do we learn to play musical instruments? For those of us who have been through exam systems we are provided with a stepped set route of pieces, scales and graded music. But for the individual who wishes to explore creating their own music this may not necessarily be the only or best way. For the improvising musician the instrument is a means to discover sounds, both their own voice and that of the object. It is double sided, a dialogue between instrument and musician. I own a cheap acoustic bass guitar, to some it might be inadequate, have too many flaws, feedback, rattles and buzz. But to me, I have taken time to discover its peculiarities, its unique sounds. I play with and around those noises and make them my own. Some of the best music lessons I’ve had over the years, have been those which have allowed me to find my individual path on an instrument, my own unique way of playing, my own fingering, my own touch, my own breath.

‘Searching for an individual sound’ is the job of the improvising musician (Frisk, 2014). This involves trying to get away from existing schemas and ways of playing. Discovering new means to produce a sound or turning to a new instrument. The saxophonist Ornette Coleman picked up the trumpet and violin in order to extend his musical resources, deliberately playing instruments he had no or little skill on to explore increasing amounts of freedom. Sometimes playing an instrument that you are unfamiliar with forces you to be more explorative, to move away from the usual ways of playing and to re-learn.

I recently attended the abstract expressionism exhibition at the Royal Academy in London. Included were photos of Jackson Pollock  dripping paint onto canvas. The photos speak of the artist finding his visual voice with materials, they are dynamic, kenetic and demonstrate the embodied nature of an artist manipulating objects.

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Figure 1 Jackson Pollock painting No. 32, 1050, photographed by Rudolph Burckhardt (Anfam, 2015)

The same process occurs for the musician, trying to tease noises out of an object and through this process of learning the musician becomes embodied with the instrument.

LaBelle writes that in music improvisation the ‘instrument functions as a partner in the unfolding of musical expression, where an individual and object are integrated, becoming a single body driven by choreography of movement and energy, precision and improvisation, skill and its reciprocal gestures’.

Learning to play an instrument as an improviser is so much more than set pieces, regular techniques and sounds, it is a journey of discovery of the self and the peculiar sound world of the chosen object.

References:

Anfam, D. (2015) Abstract Expressionism. 2nd ed. London: Thames and Hudson world of art.

Frisk, H. (2014) Improvisation and The Self: To Listen To The Other. In Schroeder, F., and O’ hAodha, M. (2014) SoundWeaving: Writings on Improvisation.Cambridge: Cambridge Scholars Publishing, pp. 153-169.

LaBelle, B. (2005) Museum of Instruments. Exhibited at the Museum of Contemporary Art, Roskilde Denmark. September 30-December 18, 2005. Available at http://soundartarchive.net/WORKS-details.php?recordiD=1106. (Accessed November 10 2013)

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Performative Arts Social Science and Music Therapy

Performative arts social science (pass for short) is an alternative view of ‘arts-based research’. Leavy and Jones see the two terms as interchangeable and with a different emphasis. Jones views pass as highlighting the sharing of a creative research process with an audience, whilst Leavy uses the term ‘arts-based research’ to describe any social science which utilizes the arts. Pass seems to be more directly relevant for music therapy, in that it incorporates the notion of ‘sharing with others in a creative process’ in its language (Beer, 2016).

Recently I have been using pass as a label to understand my research. Being a musical performer, thinking about relationship with others and sharing creative processes is the bread and butter of life. Everytime I step out into the world with an instrument, be it to play jazz or to therapize, I am thinking about musical communication. Connecting with an audience, with clients, is a vital part of the vagabond life of a musical therapist-performer.

But what does ‘performative arts social science’ really mean? Is it a useful term for arts therapies research?

The word performance is commonly understood as describing entertainment, or showing off talent. However, there is a deeper sense of performance or performative which is connected to the common sharing of a creative process. The theologian Ward (1992) defines it as, ‘form coming through’, or carrying ‘something through to completion’. 

In qualitative social science research ‘form is worked out, brought-through’. It is possible to perform research through a constant sharing of process, for example I am doing this now in this blog. The process of ‘form coming through’ is present in qualitative research that utilizes the arts (McNiff, 1998; Leavy, 2009). In pass art is understood as social, and always created in relation to others (Jones, 2012). The researcher takes part in a continious co-creation with research participants, with research audience, co-creating the meaning, discovering new knowledge and potentially opening up a space for new audiences.  

My PhD project involves a similar process, co-creating data with the participants using spontaneous music, interviews and responses to graphic scores. Continious sharing with a research audience through blogging and twitter (thank you for reading), showing reflexive art works  (Schenstead, 2012) and through traditional means such as conferences and journals.

Performative refers to the process, to relationships, rather than a single event. This implies that it might be useful to explore pass in arts therapies research, since we also view the arts through a social/relational/process lens.

References

Beer, L.E. (2016) From Embedded to Embodied: Including Music in Arts-Based Music Therapy Research. Music Therapy Perspectives, 34, pp. 33-40.

Jones, K. (2012) Connecting Research with Communities through Performative Social Science. The Qualitative Report, 17 (18), pp. 1-8.

Jones, K., and Leavy, P. (2014) A Conversation Between Kip Jones and Patricia Leavy: Arts-Based Research, Performative Social Science and Working on the Margins. The Qualitative Report, 19 (38), pp. 1-7.

Leavy, P. (2009) Method Meets Art: Arts-Based Research Practice. (2nd ed). New York: The Guildford Press.

McNiff, S. (1998) Art-Based Research.London: Jessica Kingsley Publishers.

Schenstead, A.R. (2012) The Timelessness of Arts-Based Research: Looking Back Upon A Heuristic Self-Study and the Arts-Based Reflexivity Data Analysis. Voices: A World Forum for Music Therapy, 12(1).

Ward, R. (1992) Speaking from the Heart: Preaching with Passion. Nashville: Abindon Press, p. 77.

 

 

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Arts-Based Research and Music Therapy

Arts-based research is the mixing up of social science and the arts. In recent years there has been a move towards using the arts to tease out deeper experiences in social science. Dance, drama, art and music all have the capacity to communicate emotional, embodied and sensory experience that words can’t always effectively translate  (McNiff, 1998; Leavy, 2015).

As music therapists we have been slow in research to utilise our skills as musicians. The reasons for this may have been born out of a need to prove ourselves as a profession, in a society which can value quantifiable facts over sensory-embodied experience (Barone and Eisner, 2012).

Recently some music therapy researchers have started to explore how we can use music as data, as a reflexive tool and as a way of disseminating research in our work. Ledger and McCaffrey (2015) have provided a short literature review of recent music therapy studies which employ arts-based practices. Music therapists have begun to not only use music, but other arts such as poetry, and sculpture to deepen understanding of therapeutic processes. Interesting studies include, Gilbertson (2015) who explored phenomenological narratives of music therapists work through taking casts of their hands, and Beer (2015) who used improvisations and interviews to investigate the experiences of Asian music-therapists training in the USA.

The arts have a unique and important role to play in qualitative research, and as music therapists we have special skills which we can employ. Many of us have music analysis skills, transcription, in-depth understanding of musical processes and knowledge of how music inter-relates with human relationships. In my doctorate, focusing on the experiences of music students learning to improvise, I am going to combine improvisations with semi-structured interviews. I am using music as data because improvisation can reveal deep psychological processes, encouraging participants to make new insights into their experience. The music for me is as important as the spoken word, and not an extra compoent or alternative way of working.

Finally, the philosopher Langer captures something of how the arts can contribute to our understanding of human experience in social science research. She writes about arts as forms of presentational communication, which are:

forms of human feeling … forms of growth and of attenuation, flowing and slowing, conflict and resolution, speed, arrest, terrific excitement, calm, or subtle activation and dreamy lapses … not joy and sorrow perhaps, but the poignancy of either and both … the greatness and brevity and eternal passing of everything vitally felt. Such is the pattern, or logical form, of sentience … (Langer, 1953, p.27).

 

References:

Barone, T., and Eisner, E, W. (2012) arts based research. Los Angeles: Sage.

Beer, L.E. (2015) Crisscrossing Cultural Divides: Experiences of US-Trained Asian Music Therapists. Qualitative Inquiries in Music Therapy, 10(4), pp. 127-173.

Gilberston, S. (2015) In Visible Hands: The Matter of Making of Music Therapy. Journal of Music Therapy, 52(4), pp. 487-514.

Jones, K. (2006) A Biographic Researcher in Pursuit of an Aesthetic: The use of arts-based (re)presentations in “performative” dissemination of life stories. Qualitative Sociology Review II, I.

Ledger, A., and McCaffrey, T. (2015) Performative Arts-Based, or Arts-Informed? Reflections on the Development of Arts-Based Research in Music Therapy. Journal of Music Therapy, 52(4), pp. 441-456.

Langer, S. (1953) Feeling and Form. New York: Charles Scribner’s Sons.

Leavy, P. (2015) Method Meets Art. (2nd ed). New York: The Guildford press.

McNiff, S. (1998) Art-Based Research. London: Jessica Kingsley Publishers.

 

 

 

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Graphic Scores and Music Therapy (pt.2)

 

This is the second blog in the series about Graphic Scores and Music Therapy

Understanding how 20th century and contemporary artists have attempted to visualise music can create alternative ways of re-imagining music therapy. It can be useful to incorporate graphics into music therapy reflective notes. This can not only aid memory, but develop thinking and assist analysis.

As an example I would like to use a simple one minute extract of work with a 5 year old boy*.

Clinical Notes: ‘Seated at the piano side by side with John. I played a blues in C major and sang, ‘John and Becky in music now’. He turned round to look, giving direct eye contact. Brief pause of piano music. John seemed to notice the camera and then started sounding the piano using all his fingers at once. I continued playing and singing ‘music now’. He started to use loud vocal sounds such as ‘ra-ra’. I imitated his sounds. There was a real feeling of connection and playing together. After one minute John lost concentration, said ‘oh’ and turned away. He then quickly moved away from the piano.’

This can be illustrated in a box graphic:

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Or on a time graphic:

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Bergstrom Nielson (2010) discusses the idea of the simple ‘line sketch’. Drawing a single line to represent the individual and layering graphics over this to illustrate events and music.

In the extract with John it might look something like this:

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The idea is taken from Klee (Duchting, 2016 ) who, when teaching at the Bauhaus, developed a theory of form and structure in painting related to music. Klee (1953) sought to visualise music, particularly it’s temporal and rhythmic elements. Single flowing lines for Klee represented the temporal in music, and showed movement from one moment to the next. In layering graphics over these lines, he was able to illustrate the polyphonic nature of music.

Drawing  a ‘polyphonic’ graphic related to John’s session, allows me to immediately see the shape, time and structure of the session. The drawing shows there were two main points of interaction, the eye contact after I had initially played the blues introduction and the joint vocalising at the end. The relationships between the two flowing graphic lines illustrates the times of coming together and being apart. The blue background represents the holding and containing nature of the blues structure.

To think about this extract in a wider context, it was highly unusual for John to vocalise and give so much eye contact at this point in the therapy. The graphic score highlighted the closeness of the interaction. This demonstrates that its possible to use a combination of reflective notes with graphic scores which can inform thinking about the work.

I would like to invite you to try out simple drawings to accompany your sessions, and think about if you find the process useful. Please let me know your results.

*The extract is loosely based on actual clinical work, all names and identifying information have been changed and consent given.

 

References:

Bergstrom-Nielson, C. (2010) Graphic Notation – the Simple Sketch and Beyond. Nordic Journal of Music Therapy, 19 (2), pp. 162 – 177.

Ducting, H. (2016) Paul Klee: Painting Music. Munich: Prestel

Klee, P. (1953) Pedagogical Sketchbook. Translated from the German by Sibyl Moholy-Nagy. New York.

Further Reading:

Guy, F., Shaw-Miller, S., and Tucker, M. (2007) Eye-Music: Kandinsky, Klee and all that Jazz. Chichester: Pallant House Gallery.

 

 

 

 

 

 

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Are Graphic Scores Useful for Music Therapists?

Do graphic scores have a place in the practice of music therapy?

How might they be useful as tools of transcription, communication and analysis?

As music therapists we are often time poor. It can be difficult to find space to keep detailed reflective records and notes. However, making visual transcriptions of clinical work can enrich our practice.

There are many different ways of keeping records of music therapy, audio and video files, reflective and process notes. It can be useful to transcribe aspects of sessions and make brief visual jottings. Bergstrom-Nielson (2010) describes using drawing as an aid to recording musical events in sessions. He suggests making extremely simple sketches, such as single lines or graphics boxes, to aid memory and convey events in a session. These can be incorporated into the therapists reflective notes, and potentially communicate in an immediate direct fashion which the written word might lack. For example:

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A Line Sketch

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A Box Sketch

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A Mind Map

To take the idea deeper, graphic realisations of sessions can be useful for analysis. If as a therapist you are listening back to a session, and want to think in more detail, the process of making a graphic score can reveal ‘hidden aspects’ of the therapy (Bergstrom-Nielson, 2009). With a sketch intended for analysis you may take time to add in more aspects, to create specific symbols for instruments, or to show other aspects of the session, such as a time line or physical gestures.

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Key for Instruments

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A Time Line

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Illustrations of Physical Gestures

Drawing can also be utilised to communicate about the work. When presenting clinical material showing graphic realisations can enhance the understanding for the listener. For example a simple box flow chart:

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Box Flow Chart

Graphics scores can be an extremely useful tool for music therapy practice. We need not limit ourselves to always using the written word to communicate or think about music therapy. I hope I have demonstrated that you don’t need to be an artist to use graphics as part of your music therapy practice, but can make simple sketches, mind maps or more detailed scores for analysis which can potentially enhance working life.

 

References

Bergstrom-Nielson, C. (2009) Graphic Notation in Music Therapy: A Discussion of what to Notate in Graphic Notation, and How. Approaches: Music Therapy & Special Music Education 1(2). Available at: http://approaches.primarymusic.gr [Accessed 23 March 2015].

Bergstrom-Nielson, C. (2010) Graphic Notation  – the Simple Sketch and Beyond. Nordic Journal of Music Therapy, 19 (2), pp. 162 – 177.

 

 

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Guided Imagery in Music

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A Mandala created as part of the Guided Imagery in Music Course

As part of my PhD course I recently attended Level 1 training in Guided Imagery in Music, with Professor Leslie Bunt at The University of the West of England, further details available at: http://courses.uwe.ac.uk/USPKJE15M/2016

Guided Imagery in Music is a particular branch of music therapy which focuses on receptive responses accompanied by a therapist.

GIM has a lot to offer the music therapy community. Not only do we need live improvised music making, we also need recorded music. Many of us use recordings in our clinical work, but how aware are we really of the techniques required to use them? GIM should be part of all music therapists training, it seems to be such an intuitive step in the development of the profession of music therapy.

The training involves listening to programmes of classical music. Beginning with a gentle start of listening whilst doing other activities such as drawing Mandalas (Fincher, 1991) or writing a narrative, developing into listening in deep states of relaxation whilst being closely attuned to by a therapist.

This is the first time that a Guided Imagery in Music course has been run at The University of the West of England. Receptive therapy in music is like the missing jigsaw piece in the music therapy spectrum, and it feels absolutely right for GIM to have a higher profile and an increasing number of therapists are starting to recognise its value.

GIM was originated by  Bonny (2002) following an epiphany experience in a prayer meeting, playing the violin, Bonny started to research the therapeutic benefits of listening to classical recorded music. Sessions in GIM start with a carefully controlled induction in which the therapist first finds out about the individual’s life, and creates a relaxation activity that facilitates the ‘traveller’ to enter an altered state. This is not strange as it sounds, since ‘altered states’ are a natural part of our everyday lives. The moments between waking and sleeping, or when we day-dream are all ‘altered states’ (Meyer, 2007).

The imagery and amount of direction is carefully considered by the therapist, designed to aid therapeutic process. The traveller is invited to visualise imagery, such as a pathway, a boat or a house.

GIM has two more levels in which the therapists learn to keep the travellers safe, before they can practice. One of the aspects that interests me is the analysis of sessions, looking in close detail at the musical analysis of a piece of classical music and then tracking the journeys it creates. I love this sort of analysis looking at small details in music. Which is part of the reason for doing a PhD.

On a personal note, I had one experience of travelling on the course, I was very surprised at the profundity of the experience, and I am still thinking about it two weeks later…

“Mandala created with sea-glass, pebbles, rocks, shells, toy instruments, lights and drawing”.

 

References:

Bonny, H.L. (2002) Music and Consciouness: The Evolution of Guided Imagery and Music: Gilsum, NH: Barcelona Publishers

Fincher, S.F. (1991) Creating Mandalas for Insight: Healing and Self-Expression. Boston: Shambhala.

Meyer, E. (2007) Extraordinary Knowing: Science, Skepticism, and the Inexplicable Powers of the Human Mind. London: Bantam Books.

 

 

 

 

 

 

 

 

 

 

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Filed under Academic, Guided Imagery in Music, jazz, learning, music teaching, Music Therapy, PhD, Research Methods, Spiritual, Synaestheisa, Uncategorized

Magic Synaesthesia and Lost Words

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Extract from ‘The Musical Flow Moment -Saxophone Timbre’

Researching the intersection between art, music, words and modalities of expression.

I recently wrote an assignment on ‘the ineffable’ in musical experience, how we become lost for words when we try to speak about music. Through attempting to write this (with words) I found myself reaching into the visual to try to describe the musical.

Music for me triggers shapes, colours, spatial sensations and touch (Cytowic, 2002; Marks, 1975). Compounded with this I have visual stress syndrome, which means I process colours and light differently, and black and white print moves around on the page.

So in order to explore the PhD study of improvised musical experiences. My first impulse is to draw.

Since January I have spent time researching art focused on shapes; such as the work of textile designer Tibor Reich or linocuts of Angie Lewin. Both of these artists take their inspiration from the natural world, using shapes that are already present around us, but it is the artist job to notice them and bring them to our attention. In the same way, music for me has a particular natural form, and it is this I have been trying to express. The process was:

  • Choosing two colours which related to timbre, then drawing large fluid lines
  • Drawing further shapes to represent different aspects of the music
  • Adding smaller lines in
  • Repeating the process.

Each picture is rather like a continually developing jazz standard, the first one is created, but then the second becomes an improvisation on the first, the third on the second and so on.

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Extract from ‘The Musical Flow Moment – Bass and Voice’

As I drew these pictures particular thoughts dreamt up, the lines felt like drawing bodies together, with music inside. I had words such as ‘ musical archeology, digging-deeper and magic’ bouncing around my mind. It was if, in the act of visually realising the shapes, they came into sharper focus and shifted from my unconscious to conscious mind. This then enabled clearer thought about the musical experiences. For example, on drawing shapes based on traditional notation, this morphed into inner body shapes, clef’s became kidneys, note stems veins. I became aware of drawing the embodiment of music.

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Extract from ‘The Musical Flow Moment – Bodies and Notations’

To return for a moment to the subject of ‘ineffability’. It is almost as if some experiences are without words. That there exists a musical realm, a visual realm which is sensory, embodied and felt. This is music as ‘musical thought’, visual as ‘visual thought’ – only then is it translated into words. It is possible that this ‘other dimension’ is closer to our primitive selves, to our authentic selves, and it is only in the arts, especially in improvised arts, that we connect and reveal this part to each other.

 

References

Cytowic, R.E. (2002) Synaesthesia: A Union of the Senses: Massachuetts: MIT Press.

Marks, L.E. (1975) On Coloured-Hearing Synesthesia: Cross-Modal Translations of Sensory Dimensions. Ppsychological Bulletin. 82(3). pp. 303-331.

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How to be a successful musician

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A fact of life for musicians is inherent tension in how meaning in music is interpreted. Music has been understood as an aesthetic object, which can be sold, passed on from person to person and put on a shelf. This is music as a commercial object, music as a book of graphics on a page, music as a round — shiny thing you put in a machine. The problem is, as musicians we understand this perception of music, but in reality it is not our experience, or the experience of our listeners. In actual fact music is us, music is a social process, it is what happens between you and me. Music can not be pinned down to materialism, it floats on the air, it acts in the space between us.

This tension is persistent in contemporary western society, as musicians we are constantly juggling with it. Frequently our highest aim is to create a place of connection with others, that is our success. The Finnish music researcher Hytonen-ng (2013) writes about intense moments of connection in Jazz music. She explains how for Jazz musicians creating and seeking out incredible moments of connections with others through Jazz is the most motivating factor there is to keep on playing. Music therapists are experts in creating these sorts of connections for people on the margins and edges of society. The profession of music therapy highlights the social view of music. That is why music therapists have so much to contribute to the music industry, to music academia and music performance. Music therapists are trained in music as social interaction, music as communication, music as the sounding of souls.

Musicians know the true value of music is to be found in being-us, being together. They frequently come across assumptions, that to be a successful musician is to be famous, to play big venues, to be signed with a record company. If you think of music, as a social phenomenon, then these ideas about success make no sense. I would choose every time the close connection in the music therapy room with a child with autism, or playing to a small group of people in a living room, cafe or local pub.

 

Hytonen-ng, E. (2013) Experiencing ‘Flow’ in Jazz Performance. Hampshire: Ashgate Publishing Limited.

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Musicking or Music Therapy?

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What is the difference between music therapy and other musical activities?

Is it possible to label all music making as therapy?

These are issues I find myself grappling with, especially as I move between the roles of teaching music therapy, performing and researching. Are there transitional places between activities when music therapy takes place?  In performance, happenings occur: an elderly gentleman spontaneously sings to an old jazz song; at a living room gig people respond by crying; in a busy pub, the room suddenly becomes hushed to the sound of a lone voice. All of these incidences happened (and more) during performances I took part in.  I am a trained music therapist, does this make these performances music therapy?

A few years ago I would have said, without a doubt, no. I viewed music therapy as taking place in a special clinical setting, within psychoanalytic boundaries. However, these days, I am not so sure. It has been in experiences, like those quoted above, which have re-affirmed for me, the therapeutic nature of music. I am always a music therapist, and I bring this training and experience to performance. When performing, I am unable to stop thinking about the music therapeutically. Personally I think that, performing is at its most effective when the therapeutic results of music are in evidence.

Ansdell (2014) writes that:

‘a music therapist’s specialist skill is to midwife music’s help in situations where people can’t necessarily access it for themselves (Ansdell, 2014, p. 295).

He suggests that Small’s (1998) idea of musicking (music making as a social phenomenon) and music therapy are on a continuum, and music therapists often work with people who can’t access music in other situations. I am not sure where I stand with this, since as a performer, who is also a music therapist, I find my self performing in unusual situations where people can’t usually access music. So is this music therapy? I suppose I shall just have to keep wondering and journeying with the music.

 

References:

Ansdell, G. (2014) How Music Helps: in Music Therapy and Everyday Life. Surrey and Burlington: Ashgate Publishing.

Small, C. (1998) Musicking: The Meanings of Performing and Listening. Middletown, Connecticut: Wesleyan University Press.

 

 

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