Musical Healing In Cultural Contexts

How do people use music to heal themselves and others? Are the healing powers of music universal or culturally specific? The essays in this volume address these two central questions as to music‘s potential as a therapeutic source. The contributors approach the study of music healing from social, cultural and historical backgrounds, and in so doing provide perspectives on the subject which complement the wealth of existing literature by practitioners. The forms of music therapy explored in the book exemplify the well-being that can be experienced as a result of participating in any type of musical or artistic performance. Case studies include examples from the Bolivian Andes, Africa and Western Europe, as well as an assessment of the role of Islamic traditions in Western practices. These case studies introduce some new, and possibly unfamiliar models of musical healing to music therapists, ethnomusicologists and anthropologists. The book contributes to our understanding of the transformative and healing roles that music plays in different societies, and so enables us better to understand the important part music contributes to our own cultures.

How do people use music to heal themselves and others? Are the healing powers of music universal or culturally specific? The essays in this volume address these two central questions as to music?s potential as a therapeutic source. The contributors approach the study of music healing from social, cultural and historical backgrounds, and in so doing provide perspectives on the subject which complement the wealth of existing literature by practitioners. The forms of music therapy explored in the book exemplify the well-being that can be experienced as a result of participating in any type of musical or artistic performance. Case studies include examples from the Bolivian Andes, Africa and Western Europe, as well as an assessment of the role of Islamic traditions in Western practices. These case studies introduce some new, and possibly unfamiliar models of musical healing to music therapists, ethnomusicologists and anthropologists. The book contributes to our understanding of the transformative and healing roles that music plays in different societies, and so enables us better to understand the important part music contributes to our own cultures.

Music therapy professionals work with diverse population groups, and this book provides therapists, and those in training, with the tools to integrate understanding of different cultural and social identities into their practice. Topics addressed include heritage, age, location, identity and health beliefs, and how to understand the dynamics of the variety of different cultures which music therapists will encounter in the course of their practice. Each chapter is written by an expert on a topic of personal interest in music therapy, explored through a multicultural lens. The chapters include anecdotes, case studies, and practical activities to try, while encouraging the reader to reflect on their own identity as a music therapist. This book is essential reading for all music therapy professionals wanting to practice in a culturally-informed manner, and respect the needs, contributions and strengths of every client.

By drawing extensively from current literature on music and developmental psychology, music therapy, psychotherapy and music theory, this book encourages music therapists not to compromise the musical process at the heart of their practice, but to use these with authority - the authority that this book seeks to provide.

This is the first comprehensive textbook on multicultural dimensions of music therapy. The editors pass the literary microphone to the contributing authors - all music therapists who have found belonging and identity in diverse cultures. The authors examine how music therapy is relevant within an individual's cultural context through personal and scholarly explorations. The chapters are separated into three sections: 1) understanding oppression and bias; 2) minority cultures within North America; and 3) inclusive music therapy practice and education. This focused examination prompts the reader to listen to myriad voices and engage in cultural dialogues.

This study describes the different experiences of time (duration) and repetition in a cross cultural context and how these influence the evaluation of Music Therapy clients in cross-cultural contexts. Field notes from an overnight Traditional Healing ceremony and video footage and session notes from a group Music Therapy session with female psychiatric patients provided primary data for this qualitative study. All data was transcribed and coded in order to analyse the nature of both time and repetition in these contexts. The results of the data analysis were compared to Western perceptions of time and repetition and Modern Music Therapy practice in an attempt to identify common ground. Experiences play a role when evaluating clients cross-culturally. The aim was to generate a deeper understanding and awareness of issues that may have to be taken into consideration when evaluating clients. My interest in this topic arose from my observation and participation in an overnight traditional ceremony and clinical work with a group of female patients from different backgrounds in a psychiatric setting. In both instances, culture appeared to play a significant role that I could neither fully understand nor be party to. I realised that attempts to evaluate clients in this context could provide inappropriate results. I used field notes from the overnight traditional ceremony and a video excerpt and session notes from a group session with female psychiatric patients as primary data sources for this qualitative study. All data was transcribed and coded in order to analyse the nature of both time and repetition in these contexts. The results of the data analysis were compared to Western perceptions of time and repetition and Modern Music Therapy practice in an attempt to identify common ground. This study is limited by the inaccessibility of first-hand experience of both Traditional Music Therapy and Modern Music Therapy by clients from traditional cultures. Such observations cannot be made by individuals from outside this context. I found that the aims, processes and practice of Traditional Music Therapy and Modern Music Therapy were far removed from each other and little, if any, commonality in perceptions of time and repetition existed. This however does not invalidate the practice of Modern Music Therapy with clients from traditional societies. What is required, however, is the development of a deeper understanding of the nature, implications and manifestations of traditional cultures in the context of Modern Music Therapy. We can learn from the vitality and inclusivity of African music and the healing role it plays in African societies. The development of a mutual understanding of each others cultures can provide a rewarding experience both for therapist and client.

An in-depth exploration of taking culture-inclusive perspectives for practice, theory, and research in music therapy. Part One outlines premises for the argument, examining basic concepts such as culture, humankind, meaning, "musicking," and the nature-nurture debate. Part Two highlights how culture-centered music therapy may be practiced. In Part Three, implications for describing and understanding music therapy are discussed, including a chapter on how to define music therapy as practice, discipline, and profession. A culture-inclusive model of the music therapy process is also proposed. Part Four suggests approaches to music therapy research within a culture-centered context.

This exciting text is a comprehensive work that examines the use of art, play, music, dance/movement, and drama in different cultures and with diverse client populations. The editors’ primary purpose is to explore how the creative therapies can be implemented in diverse cultures and in different countries. Renowned, well-credentialed, and professional creative arts therapists in the areas of art, play, music, dance/movement, and drama helped write this collection. Examples include the use of art in working with refugee children in Australia and with Chinese-American children; shared experiences in using dance and movement with Arabic women in Jerusalem, indigenous Inner Mongolia, and with survivors of torture. Other chapters offer stories of using drama in the Netherlands, music and other creative arts in China, play therapy in Appalachia and with different races. Additionally, there are chapters on working with children with learning disabilities as well as the use of creative arts in supervision. Some of the chapters are beautifully complimented with photographs of client works of art or play. The text provides a rich tapestry on how the creative therapies can be used across cultures for issues such as depression and trauma to name a few. Of special interest are the chapters on supervision. Not only a tool for creative art therapists, this informative book will be of special interest to educators, students, therapists, as well as people working in other parts of the world or with culturally diverse clients.

Music therapists from around the world working in conventional and unconventional settings have offered their contributions to this exciting new book, presenting spirited discussion and practical examples of the ways music therapy can reflect and encourage social change. From working with traumatized refugees in Berlin, care-workers and HIV/AIDS orphans in South Africa, to adults with neurological disabilities in south-east England and children in paediatric hospitals in Norway, the contributors present their global perspectives on finding new ways forward in music therapy. Reflecting on traditional approaches in addition to these newer practices, the writers offer fresh perceptions on their identity and role as music therapists, their assumptions and attitudes about how music, people and context interact, the sites and boundaries to their work, and the new possibilities for music therapy in the 21st century. As the first book on the emerging area of Community Music Therapy, this book should be an essential and exciting read for music therapists, specialists and community musicians.

Music therapy is growing internationally to be one of the leading evidence-based psychosocial allied health professions to meet needs across the lifespan.The Oxford Handbook of Music Therapy is the most comprehensive text on this topic in its history. It presents exhaustive coverage of the topic from international leaders in the field.