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9781853027345

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Provides an articulate discussion surrounding the components and the quality of the therapuetic relationship involving the patient, the music, and the music therapist. The writers lead the reader through a hallway of psychiactric termssuch as transference, release and containment, all within the context of the music therapist's perspective. They emphasise the importance of music therapists' personal expertise in the musical instruments they choose for use with patients. They highlight a respect for ones limitations and fears in stressing that musical therapists be able to anylyze and work through personal fears of loss of control in order to deal in a therapuetic way with psychiactric patients (p.20). They state that the musical experience is necessary in helping the patients acquire an insight needed to work through conflict. Through the variety of clinical presentations offered by this international forum of music therapy professionals, the reader has witnessed a rich balance of blending of psychotherapuetic theory and clinical music therapy in action. The range of contributions, although at times perhaps more reflective of the international approach to music therapy with it's emphasis on music improvisation, nonetheless makes a serious contribution to the annals of music therapy literature in the psychiactric setting. The benefits of reading this anthology to those serving the needs of the psychiactric client will endure long after the settling of first reflections. -- The Arts In Psychotherapy Reference is made to case study material and the theory underpinning music therapy as a medium is demonstrated through the diversity of clients' needs highlighted in the case studies. -- OTPLD Newsletter This book is most helpful in setting out and explaining the rationale behind the use of music as a therapeutic medium and thus enabling practitioners to understand how precisely it could be of benefit to their client group... the book is very readable, the prose flows well, theory is well integrated into practice and case studies are pertinent and interesting. -- British Journal of Occupational Therapy

Author Information

Claire Flower has 20 years' experience as a music therapist in clinical practice, working in a range of settings with a wide variety of client groups. She works now at the Cheyne Child Development Service based at Chelsea and Westminster Hospital, London. Claire is a past Chairperson of the British Society for Music Therapy, maintains a supervision practice and continues to both write about and present her work extensively. Jos De Backer is a Professor of music therapy at Leuven University College of Arts (LUCA), campus Lemmensinstituut, Belgium and is Head of the Masters training course in music therapy. He studied music education and music therapy in Belgium and Vienna and he completed his PhD in music therapy at the University of Aalborg, Denmark. He is Head of the Music Therapy Department in the University Psychiatric Centre KULeuven, campus Kortenberg where he works as a music therapist treating young psychotic patients and patients with personality disorder. De Backer specialises in clinical improvisation, is a member of the advisory Editorial Board for the Nordic Journal of Music Therapy and of the Editorial Panel of the British Journal of Music Therapy and is a past President of the European Music Therapy Confederation. Simon Gilbertson is a trained musician and music therapist. He is a lecturer in music therapy at the Irish World Academy of Music and Dance, University of Limerick, Ireland, and was previously Head of Music Therapy at the Klinik Holthausen in Germany. After gaining his doctorate at David Aldridge's Chair for Qualitative Research in Medicine at the University Witten Herdecke he went to work with David at the Nordoff-Robbins Centre in Witten, Germany. Colwyn Trevarthen is Emeritus Professor of Child Psychology and Psychobiology at the University of Edinburgh.

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