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Books on the topic 'Music therapy'

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Author: Grafiati
Published: 4 June 2021
Last updated: 19 December 2023

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1

Hamilton, Sharon. Music therapy. Barking: Directorate of Public Health Medicine, Barking & Havering Health Authority, 1996.

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2

Alvin, Juliette. Music therapy. London: Stainer & Bell, 1998.

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3

Lecourt, Edith. Music therapy. Saint Louis: MMB Music, 1995.

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4

Henry, Earl. Music therapy. Hemel Hempstead: Prentice-Hall, 1986.

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5

Bruscia, Kenneth E. Defining music therapy. 2nd ed. Gilsum, NH: Barcelona Publishers, 1998.

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6

Pavlicevic, Mercedes. Community music therapy. London: Jessica Kingsley Publishers, 2004.

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7

Bruscia, Kenneth E. Defining music therapy. Phoenixville, PA: Barcelona Publishers, 1989.

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8

Lathom, Wanda. Pediatric music therapy. Springfield, Illinois: Charles C. Thomas, 2014.

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9

Tucker, Jeremie R. Multidimensional music therapy. Victoria, B.C: Trafford, 2005.

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10

Z, Robarts J., and British Society for Music Therapy., eds. Music therapy research. East Barnet: British Society for Music Therapy, 2000.

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11

Bruscia, Kenneth E. Defining music therapy. Spring City, PA (654 Pikeland Ave., Spring City): Spring House Books, 1989.

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12

Nālappāṭṭ, Suvarṇṇa. Rāgacikitsā =: Music therapy. New Delhi: Readworthy Publications, 2008.

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13

L, Wheeler Barbara, ed. Music therapy research. 2nd ed. Gilsum, NH: Barcelona Publishers, 2005.

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14

Ramírez-Meléndez, Rafael. Neurocognitive Music Therapy. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-48635-7.

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15

Peters, Jacqueline Schmidt. Music therapy: An introduction. Springfield, Ill., U.S.A: C.C. Thomas, 1987.

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16

Beer, Laura E., and Jacqueline C. Birnbaum. Trauma-Informed Music Therapy. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003200833.

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17

Pavlicevic, Mercedes. Music therapy: Intimate notes. London: Jessica Kingsley Publishers, 1999.

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18

Priestley, Mary. Music therapy in action. 2nd ed. St. Louis, Mo: MMB Music, 1986.

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19

Priestley, Mary. Music therapy in action. 2nd ed. [St. Louis, MO., USA]: MMB Music, 1985.

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20

European Music Therapy Conference (5th 2001 Naples, Italy). Music therapy in Europe. Roma: ISMEZ/Onlus, 2001.

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21

Borczon, Ronald M. Music therapy: Group vignettes. Gilsum, NH: Barcelona Publishers, 1997.

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22

Dileo, Maranto Cheryl, ed. Music therapy: International perspectives. Pipersville, Pa: Jeffrey Books, 1993.

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23

Lisa, Summer, and American Association for Music Therapy., eds. Music therapy international report. Ossining, NY: American Association for Music Therapy, 1996.

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24

Watson, Max, Caroline Lucas, Andrew Hoy, and Jo Wells. Music therapy. Oxford University Press, 2010. http://dx.doi.org/10.1093/med/9780199234356.003.0045.

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25

Bunt, Leslie, and Brynjulf Stige. Music Therapy. Routledge, 2014. http://dx.doi.org/10.4324/9781315817989.

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26

Edwards, Jane. Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.52.

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This chapter outlines the importance of understanding the dynamics of the service context along with the needs of the population being served in order to achieve effective implementation of music therapy programmes. The new music therapist, and the student, must take care to ensure they understand as much as possible about the population, the services, and the wider policy context in the place where they are providing services before translating research findings or the techniques described in case studies to their own developing practice. Music therapy has an emergent evidence base as provided through case reports, expert opinion, randomized controlled trials, and meta-analyses of existing studies. The evidence base points to the effectiveness of music therapy to address a range of needs, particularly in improving communication and social skills.
27

Bunt, Leslie. Music Therapy. Routledge, 2003. http://dx.doi.org/10.4324/9780203359716.

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28

Bando, Hiroshi. Music Therapy. Raffles Connct Pte ltd, 2020. http://dx.doi.org/10.33702/isbn.9789811476594.

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29

Music Therapy. Schirmer Books, 2000.

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30

Lecourt, Edith. Music Therapy. Mmb Music, 1988.

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31

Podolsky, Edward. Music Therapy. Kessinger Publishing, LLC, 2007.

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32

Petrushin, V. I. Music therapy. Book on Demand Ltd., 2018.

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33

Alvin, Juliette. Music Therapy. Stainer & Bell Ltd, 1991.

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34

Podolsky, Edward. Music Therapy. Kessinger Publishing, LLC, 2006.

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35

Aigen, Kenneth. Music-centered Music Therapy. Barcelona Pub, 2005.

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36

Notebooks, Analyst Life. Eat Sleep Music Therapy Repeat: Music Therapy Notebook for Music Therapists. Independently published, 2019.

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37

Wood, Stuart, and Gary Ansdell. Community Music and Music Therapy. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.35.

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This chapter outlines the historical and current relationship between community music and music therapy—in particular the seeming overlap between community music and the newer sub-discipline of music therapy called community music therapy. The chapter argues for a re-imagining of certain key areas of joint concern and potential linked to the broader shared agenda of working musically with people. These topics indicate a way for community music and music therapy to align and collaborate in a relationship that can be both ‘joint’ and ‘several’—ensuring that the work remains creative, effective, responsible, and professional for people and their communities.
38

Hadley, Susan, Johannes Eschen, and Juliane Kowski. Analytical Music Therapy. Kingsley Publishers, Jessica, 2002.

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39

Wheeler, Barbara L. Music Therapy Handbook. Guilford Publications, 2014.

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40

Davies, Alison. Group Music Therapy. Routledge, 2014. http://dx.doi.org/10.4324/9781315752570.

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41

Wheeler, Barbara L. Music Therapy Research. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.11.

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Music therapy is a diverse field and music therapy research increasingly reflects that diversity. Many methods and approaches are used to examine the various facets of music therapy practice and theory. This chapter provides an overview of music therapy research, and provides basic information about how research is conducted in this field. Research methods in music therapy research are similar to those used in other healthcare disciplines. A range of methods are reviewed and presented including; experimental research and Randomized Controlled Trials, Participatory Action Research, Grounded Theory, and Phenomenological methods.
42

Lee, Colin Andrew. Aesthetic Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.2.

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This chapter provides an overview of a music-centered model of music therapy entitled Aesthetic Music Therapy (AeMT). AeMT was developed over many years of practice and theoretical reflection not only as a music-centered approach to therapeutic work, but also as a way to consider the myriad means by which humans experience the world of self and others. By placing AeMT within the framework of other present-day music therapy models, the need for music-centered thinking to be considered equal to those of medicine, community, and psychotherapy is endorsed. By expanding our knowledge and use of diverse musical cultures, music therapy will remain at the forefront of contemporary theories in both the field of health and the arts.
43

Grocke, Denise. Receptive Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.21.

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Listening to music is an everyday experience for most people. In music therapy music listening can be used to support many therapeutic goals. This chapter presents an overview of methods used in receptive music therapy that are supported by research literature, including music-assisted relaxation, music and imagery, and Guided Imagery and Music (Bonny Method). Salient features of each approach are outlined and supported with evidence-based research. Elements of music used in relaxation and imagery are discussed in some further depth to highlight the need for greater transparency when reporting the effect of recorded and live music in receptive music therapy.
44

Edwards, Jane. Conceptualizing Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.32.

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New students of music therapy soon find that the most common inquiry about their field of study is “What is music therapy?” They may also be asked questions such as “Does that work?” Even experienced practitioners in the field can find these questions annoyingly routine in meeting new colleagues. In answering these questions, providing a definition of music therapy is important. There are multiple constructs through which the functions and capacities of music therapy can be usefully discussed. Five of these areas are elaborated in theOxford Handbook of Music Therapy; music therapy contexts and populations across the lifespan, music therapy models and approaches, music therapy methods, music therapy research, and music therapy training and professional issues. This chapter elaborates these areas and discusses the contribution to the development of music therapy in each of these sectors of inquiry and practice.
45

Edwards, Jane, and Jason Noone. Developmental Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.40.

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Developmental music therapy (DMT) is a model that underpins music therapy practice with multiple client groups. The resonances of DMT can be found whenever music therapists use any or all of their understanding of developmental stages, family context, and social and cultural frameworks to consider needs and interactions within individual or group music therapy. Music therapy training courses teach developmental theories, and therefore most practising music therapists use these theoretical perspectives in their interactions with clients. Thus chapter will show how developmental music therapy refers to three major theoretical orientations: (1) Theories of stress, coping, and adaption; (2) Human life span development, including stage models of development, and musical milestones of development; and (3) Ecological perspectives such as Bronfenbrenner’s bioecological model of development (Bronfenbrenner 1979). Boxill consistently termed her approach developmental music therapy (Boxill 1989). Therefore, this chapter provides an overview of Boxill’s writings and theoretical positioning within DMT.
46

Edwards, Jane. Music Therapy Research. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.50.

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Music therapy is an evidence-based profession. Music therapy research aims to provide information about outcomes that support music therapy practice including contributing to theoretical perspectives that can explain why changes occur during treatment. Music therapy research has been conducted in a range of health, education, and community contexts throughout the world. Initially many music therapy developments in the university sector occurred through the establishment of training programmes that were developed and delivered by music therapists with professional experience in leading services in education and health care. Now many music therapy training programmes are led by people with practice experience along with research qualifications, and some universities offer music therapy doctoral pathways. Music therapy research capacity has expanded through a notable increase in PhD graduates as well as an increase in funded research in music therapy. This chapter covers: (1) traditions, (2) trends, and (3) contexts for music therapy research.
47

Ansdell, Gary, and Brynjulf Stige. Community Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.6.

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This chapter provides an overview of the wide and complex territory of Community Music Therapy, orientating readers to the key events, arguments, and practices of this international movement. Characterizing CoMT as a “social movement” helps explain the particular pattern of its emergence and development, and the varying reactions to it. This also indicates how the movement critically refracts dimensions of the practice, discipline, and profession of international music therapy more generally in its late-modern phase—showing how it is adapting to the demands and opportunities of globalization, cultural plurality, economic crisis, and the restructuring and revisioning of health and social care services. In its short history CoMT has functioned variously as an inspiration for broader and more flexible practice, as a critique of traditional theory, as a platform for exploring fresh interdisciplinary theory, and as an instigator of inter-professional dialogue and dispute.
48

Metzner, Susanne. Psychodynamic Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.8.

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The basic underlying assumption in psychodynamic music therapy is the existence of, and dynamic processes within, an unconscious part of the mind, which has an influence on intrapsychic and interpersonal processes within and outside of the musical activity between the therapist and patient. The therapeutic relationship is distinguished by the attentiveness of the music therapist to his or her own reactions, feelings, fantasies, and ideas, which are triggered by the patient’s transference. Psychodynamic music therapy proposes that, with the assistance of music, human beings can become aware of their inner states, and can communicate these through performed musical expression. From a psychoanalytic viewpoint, music is considered to portray meaning and to give the individual the feeling of being mirrored, accompanied, and even personally understood. This chapter explains how psychodynamic music therapy was developed and how it is practiced within the treatment context of mental health services.
49

Lathom, Wanda. Pediatric Music Therapy. Charles C Thomas Pub Ltd, 2002.

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50

Lathom-Radocy, Wanda B. Pediatric Music Therapy. C.C. Thomas, 2002.

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