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This new volume from Stuart Wood emphasises the latter perspective in particular but draws to some extent on all of the above standpoints. Many readers will remember the World Congress in Oxford in with its well-attended roundtable on Community Music Therapy and the strong reactions and abreactions it evoked.
Since then there have been influential book publications on the subject e.
Wood builds on the temporal distance from those early debates by drawing on and synthesising many of the ideas from the burgeoning literature. This is done not in the form of a single dense literature review, but rather by using the literature to illustrate and reflect on his points throughout the book. In doing so, he renders the reader a major service as this literature is now becoming so sizable and varied in focus that it is hard to keep track of it all.
In some respects, the value of Community Music Therapy in the s lay precisely in its offering of rupture via its highlighting of the breaking point between musically led practice and established professional rhetoric. It was about disturbing, challenging and invigorating.
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But Wood comes to this work as a practitioner and manager within particular settings as well as a researcher, and also as a dedicated follower and formulator of theory and this combination means he has something distinctive and compelling to offer. Each of these gets its own chapter, and this works very well as a structuring device for the book.
Wood argues consistently for plurality of possibility, for letting music off the leash in order to open up as many opportunities for people and communities as possible. What should this or that musical possibility not be part of music therapy? Wood elaborates a truly broad musically founded conception of what it is that music therapists can consider themselves able to do and thus responsible for doing. The chapters on aims and context in particular are supplemented with plentiful examples of practice: these are vivid and inspiring and reason enough in themselves to read the book.
They also serve as jumping off points for some of the most pertinent theorising. I particularly appreciated the discussion of aims: I remember as a trainee music therapist being struck by the contrast between music therapists who told us that it was imperative to formulate aims and work systematically towards achieving them, and others who told us that therapy of any kind could not be constrained by pre-formulated aims but had to be led by experience of the unfolding therapeutic relationship, moment by moment and session by session.
Wood offers us a musically founded way of thinking about this contentious area which acknowledges both sides of this unnatural divide: his thinking here is thoroughly pragmatic and easily understood.
Evaluation of community music therapy: Why is it a problem?
This seems to contrast with the historical dissatisfaction within Community Music Therapy with such professional assertions and a certain post-colonial yearning towards democratisation. I also wanted to hear more about the idea of community — such an idealised but politically slippery and commercially appropriated term.
How can the music making of Community Music Therapy be seen or heard to create, configure or even perhaps undermine community with all of its vicissitudes as well as advantages? As a writer, Wood is articulate, well-informed and at times entertaining. He often writes as though speaking with the reader: this is generally very engaging, although some readers may find it close to sermonising. And, like a clever vicar, he offers philosophical excursions that mostly informed and delighted me but sometimes left me behind.chajoulicade.ga
Community Music Therapy - Oxford Handbooks
In the course of reading the book, I learned about slime mould, the eyes of arthropods, and rhizomic systems: not at all what I was expecting! But for those music therapists for whom the term is valuable, whether as a descriptor of their practice, as a disruptor of externally imposed assumptions, or as a champion of musical thinking in action, this book provides useful examples of practice, an excellent overview of relevant literature, much stimulation of thinking and some useful provocation for good measure. I heartily recommend it as a worthy next link in the chain from the already established publications in this field.
And for those within the profession who doubt the value of the practice or the rigour of the thinking underpinning Community Music Therapy, this book would be a fine place to start. He is also a member of the Sociology of the Arts research group based at the University of Exeter. Skip to main content. British Journal of Music Therapy. Article Menu. Download PDF. Open EPUB.
The Community Music Therapy Team
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Share Share. Music Therapy is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. American Music Therapy Association definition, Music therapists assess emotional well-being, physical health, social functioning, communication abilities, and cognitive skills through musical responses; design music sessions for individuals and groups based on client needs using music improvisation, receptive music listening, song writing, lyric discussion, music and imagery, music performance, and learning through music; participate in interdisciplinary treatment planning, ongoing evaluation, and follow up.
All music therapy applicants are given an initial assessment.
Stuart Wood and Gary Ansdell
After the initial assessment, the therapist will make appropriate study recommendations to meet the needs and goals the student. Individual music therapy sessions are billed at the Master Faculty rate. Lessons may be anywhere from 30 to 60 minutes weekly and are typically once per week, depending on attention span and needs.