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Response to Rizkallah’s review of the book ‘Integrative health through music therapy: Accompanying the journey from illness to wellness’
Full text linkI am writing this letter as a response to Marianne Rizkallah’s recent book review published in Approaches (Rizkallah, 2020). The book reviewed is titled ‘Integrative Health Through Music Therapy: Accompanying the Journey From Illness to Wellness’, written by Suzanne Hanser.
Integrative health must be viewed as a set of person-centred principles and approaches to enhance patient care and reduce suffering. It goes “beyond simply combining different forms of medicine and allows for an individualistic approach to patient care that incorporates the mind, spirituality, and sense of community as well as the body” (Gannotta et al., 2018, p. 1). It is intended as a practice that draws from a suite of interventions that meet the holistic needs of the patient. Integrative medicine practitioners do not view the field of integrative health from a dichotomous perspective of eastern versus western medicine but instead as a complementary and synergistic range of solutions that can help alleviate one or more presenting problems or concerns expressed by patients (Bell et al., 2002). A study conducted among resident physicians in the United States revealed that ideological differences and lack of knowledge were the primary barriers to the adoption of integrative medicine, not a lack of evidence (Ziodeen & Misra, 2018). The researchers recommend formal integrative medicine training to be incorporated within the medical education curriculum to overcome these barriers. The National Institute for Complementary and Integrative Health (2020) also advises health providers on how to access the body of evidence-based medicine, including mind-body practices such as music therapy. These conclusions suggest that attitudes and mindset also influence the adoption of integrative medicine, not necessarily the lack of evidence, as suggested by Rizkallah (2020). Further, the building of a robust evidence base is necessary across all integrative medicine practices worldwide.
Integrative medicine also views the patient and the practitioner as partners within the therapeutic process (Maizes et al., 2009). Approaches to the therapeutic relationship can therefore vary depending on the clinical context or length of treatment plans. It is true that there is a power differential between therapist and client, and maintaining a professional relationship requires strict parameters. However, Hanser urges the music therapist to “empower” the client to identify their own inner strength and resources as they enter into the therapeutic relationship. Those who face difficult diagnoses, traumatic treatments, ongoing pain and suffering, and limited lifespans may not always require a deeply psychoanalytic approach. In these individuals, the idea of a “companion” and “muse” as proposed by Hanser would be appropriate, as such an approach is more likely to elicit the intended therapeutic outcome of empowering the individual seeking treatment. Therefore, the terminology of companion does not deny the power dynamic that is inherently present in any therapy, as highlighted in Rizkallah’s book review.
Finally, the emphasis of the book is indeed on the relationship with music. Throughout the book, Hanser explores the relationship between the individual and music therapist as an empowering, open, and more balanced flow throughout the journey to wellness. This may not be the traditional client-therapist relationship, but this approach is what makes the book intriguing. In Chapter Six, Hanser specifically addresses the music therapist’s own journey at many levels of being, including “musical preparation.”
Hanser’s contribution brings focus and depth to understanding the use of music therapeutically within an integrative medicine context. The evidence base assembled in the book and the strategies suggested by Hanser are an excellent resource for global music therapy practitioners of all experience levels who may want to engage more rigorously with this rich field. Drawing on my own expertise in the field of medicine and music therapy, I would recommend Hanser’s textbook for music therapists and health professionals from all fields to help promote and advance the use of music in integrative medicine.
As Hanser models for us, the field of music therapy should be open to expanding our collective ability as a professional community to use music therapeutically more effectively. Hanser is to be lauded for departing from a narrower view of music therapy in favour of an innovative integrative healing model. I would invite the global music therapy community to undertake a more open and deeper reflection on the principles of integrative medicine with consideration for a range of needs presented by diverse communities worldwide.
References
Bell, I. R., Caspi, O., Schwartz, G. E., Grant, K. L., Gaudet, T. W., Rychener, D., Maizes, V., & Weil, A. (2002). Integrative medicine and systemic outcomes research. Archives of Internal Medicine, 162(2), 133. https://doi.org/10.1001/archinte.162.2.133
Gannotta, R., Malik, S., Chan, A. Y., Urgun, K., Hsu, F., & Vadera, S. (2018). Integrative medicine as a vital component of patient care. Cureus, 10(8), 1-5. https://doi.org/10.7759/cureus.3098
Maizes, V., Rakel, D., & Niemiec, C. (2009). Integrative medicine and patient-centered care. Explore, 5(5), 277-289. https://doi.org/10.1016/j.explore.2009.06.008
National Institute for Complementary and Integrative Health (2020). Resources for health care providers. Retrieved from https://www.nccih.nih.gov/health/providers
Rizkallah, M. (2020). Book review “Integrative health through music therapy: Accompanying the journey from illness to wellness” (Hanser). Approaches: An Interdisciplinary Journal of Music Therapy. Advance online publication. Retrieved from https://approaches.gr/rizkallah-br20200203
Ziodeen, K. A., & Misra, S. M. (2018). Complementary and integrative medicine attitudes and perceived knowledge in a large pediatric residency program. Complementary Therapies in Medicine, 37, 133-135. https://doi.org/10.1016/j.ctim.2018.02.00
Our sea: Music therapy in dementia and end-of-life care in the Mediterranean region
Full text linkOPENING
Welcome to this special feature of Approaches, which was inspired by the 1st Mediterranean Music Therapy Meeting. Organised by the Giovanni Ferrari Music Therapy School of Padua, with the support of the Italian Association of Professional Music Therapists (AIM) and the Italian Confederation of Associations and Music Therapy Schools (CONFIAM), this event took place on 22nd September 2018 in Padua, Italy. Reflecting the theme of this meeting, Dialogue on Music Therapy Interventions for Dementia and End-of-Life Care: Voices from Beyond the Sea, this special feature aims to raise awareness and promote dialogue around music therapy in the Mediterranean region with a focus on dementia and end-of-life care settings.
The special feature contains brief country reports. Although reports vary in writing style and depth of information, each report has a two-fold overall focus: to outline briefly the current state of music therapy within each country and to describe particular applications of music therapy within dementia and end-of-life care contexts. Additionally, this special feature contains a Preface by Melissa Brotons, who was the keynote speaker at the 1st Mediterranean Music Therapy Meeting, as well as a conference report outlining key aspects of this meeting.
THE SEA AROUND US: A NOTE ON THE MEDITERRANEAN
The name of the Mediterranean Sea originates from the Latin mediterraneus, meaning “middle of the earth”. This name was first used by the Romans reflecting their perception of the sea as the middle or the centre of the earth. Interestingly, while perceived as a middle point, the Mediterranean was also experienced as something that surrounded people. Thus, both the Ancient Greeks and the Romans called the Mediterranean “our sea” or “the sea around us” (mare nostrum in Latin, orἡ θάλασσα ἡ καθ’ἡμᾶς [hē thálassa hē kath’hēmâs] in Greek).
The Mediterranean Sea is linked to the Atlantic Ocean. It is surrounded by the Mediterranean basin and enclosed by land: on the north by Southern Europe and Asia Minor, on the south by North Africa, and on the east by Western Asia. Since antiquity the Mediterranean has been a vital waterway for merchants and travellers, facilitating trade and cultural exchange between peoples of the region. The Mediterranean region has been the birthplace of influential civilizations on its shores, and the history of the region is crucial to understanding the origins and evolvement of the modern Western world. Throughout its history the region has been dramatically affected by conflict, war and occupation. The Roman Empire and the Arab Empire are past examples with lasting footprints in the region; while ongoing conflicts in Syria, Israel and the Occupied Palestinian Territories are contemporary examples, some of which have led to a refugee crisis in the region. As such, the history of the region has been accompanied by endeavours and struggles to define and redefine national identities, territories and borders. Interestingly, Cyprus is one of just two nations, and the first one in the world, to include its map on its flag (the second is Kosovo – a Balkan country close to the Mediterranean region).
The sea touches three continents, and today the Mediterranean region can be understood, framed and divided differently based on varying geopolitical and other perspectives (see, for example, the Eastern Mediterranean Region of the World Health Organization [WHO, 2020]). For the purposes of this special feature, we understand the Mediterranean region as including 12 countries in Europe, five in Asia and five in Africa. These countries, in clockwise order, are Spain, France, Monaco, Italy, Malta, Slovenia, Croatia, Bosnia and Herzegovina, Montenegro, Albania, Greece, Turkey, Cyprus, Syria, Lebanon, Israel, Occupied Palestinian Territories, Egypt, Libya, Tunisia, Algeria and Morocco.
Despite its relatively small geographical area, the Mediterranean region is characterised by the richness of cultures, religions and musical traditions. Likewise, there is a dramatic diversity in terms of political and socio-economic situations. This diversity is equally reflected in the development of dementia and end-of-life care in these countries. Regarding dementia care, in 2016, the Monegasque Association for Research on Alzheimer’s Disease, published the Alzheimer and the Mediterranean Report where is underlined that “[in] many Mediterranean countries, there is still little knowledge about the problems surrounding Alzheimer’s disease, which remains under-estimated and insufficiently documented” (AMPA, 2016, p.7). The report identified a concerning rise in the number of people with Alzheimer’s disease and related disorders in the Mediterranean area, but little biomedical, fundamental and clinical research, unequal and unspecialised access to home care services, and also a general lack of training among professionals and a lack of status recognition for family carers.
In terms of end-of-life care, in 2017 the first systematic attempt to map and assess the development of palliative care in the WHO Eastern Mediterranean region was published (Osman et al., 2017). Results demonstrate that palliative care development in Eastern Mediterranean countries is scarce. Most countries are at the very initial stages of palliative care development, with only a small fraction of patients needing palliative care being able to access it. This situation also applies to the integration and provision of palliative care within care homes and nursing homes offering long-term care for older people (Froggatt et al., 2017). Recent reviews also demonstrate that palliative care is variable and inconsistent across the region, while various barriers exist to the development of palliative care delivery. Examples of such barriers include the lack of relevant national policies, limited palliative care training for professionals and volunteers, as well as weak public awareness around death and dying (Fadhil et al., 2017).
Similar barriers around legislation, training and public awareness are met in the development of music therapy in many Mediterranean countries. Music therapy, as a contemporary profession and discipline, and indeed its applications in dementia and end-of-life care, are equally limited and characterised by diversity across the region. As such, this special feature is a modest attempt to bring together perspectives and present initial information for areas of work which are not widely developed, explored or documented so far in most Mediterranean countries. Hopefully this publication will raise further awareness and inform the future development of music therapy with specific reference to its potential applications to dementia and end-of-life care in each country. This becomes even more relevant considering the increase of non-communicable diseases (NCDs), including cancer, in the region (Fadhil et al., 2017).
BEHIND THE SCENES
Inviting authors
Although the 1st Mediterranean Music Therapy Meeting included speakers only from a few Mediterranean countries, this special feature attempted to include authors from every single Mediterranean country. In addition to inviting the speakers from the meeting to contribute to this special feature, we invited authors from each of the other Mediterranean countries. After listing all the countries, we tried to identify music therapists in each of them. We drew on our own professional networks, as well as information available on the websites of the European Music Therapy Confederation (EMTC) and the World Federation for Music Therapy (WFMT), along with relevant publications in the open access journals Approaches: An Interdisciplinary Journal of Music Therapy and Voices: A World Forum of Music Therapy. In countries where we could not identify a music therapist (with or without direct experience of working in dementia and end-of-life care), we attempted to identify and invite other relevant professionals with an explicit interest in music therapy. When this second option was impossible, no authors were invited. There were also cases where potential authors who met the above criteria did not respond to the invitation. As such, this special feature does not include a report from every Mediterranean country. The absence of reports from some countries, however, does not necessarily reflect the lack of music therapy work in these countries.
Some of the contributing authors are members or representatives of professional associations and some are not. In either case, their contribution to this special feature aims to represent their views and experiences as individuals without claiming to represent national or other professional bodies. Depending on the position of each individual author, different aspects of music therapy may be explored, prioritised, silenced or challenged in each country report. We want to be clear: these reports are not about absolute ‘truths’ and do not provide comprehensive accounts of music therapy and of its applications in dementia and end-of-life care in each country. Instead of being a ‘full stop’, we see these reports as an opening; as invitations for dialogue, debate, critique and mutual growth. We encourage readers to engage with the contents of this special feature critically; being informed by their own experiences and practices, as well as by related literature and historical trajectories in the field (e.g. De Backer et al., 2013; Dileo-Maranto, 1993; Hesser & Heinemann, 2015; Ridder & Tsiris, 2015a; Schmid, 2014; Stegemann et al., 2016).
The challenge of the review process
All reports were peer-reviewed. Although we strived to ensure a ‘blind’ review process, this was difficult to achieve in certain cases due to the nature of the reports and the small size of the music therapy communities in certain countries. We invited music therapists living and working in Mediterranean countries to serve as reviewers. We also invited some music therapists living in other parts of the world, given their experience and role within international music therapy bodies and initiatives. Reviewers were requested to evaluate not only the accuracy of the information provided in each report but also the reflexive stance of the authors. This comes with acknowledging that in some instances authors and reviewers came from diverse professional and disciplinary spheres, where music therapy can be understood and practised differently. This was particularly relevant to country reports where we could not identify reviewers with ‘inland’ knowledge of the music therapy field and of its relevance to local dementia and end-of-life care contexts.
Towards hospitality
Professionalisation issues – which seem to be a common denominator across the reports of this special feature – are often an area of controversy and conflict, where alliances and oppositions have emerged over the history of the music therapy profession within and beyond the Mediterranean region. Writing a country report, and indeed reviewing and editing a collection of such reports, can be a ‘hot potato’! Although it is impossible to remain apolitical, we argue (and we have actively tried to promote this through our editorial and reviewing work) that a constructive dialogue needs to be characterised by reflexivity. It needs to be underpinned by openness and transparency regarding our own values and assumptions, our pre-understanding, our standpoint, as well as our invested interests.
Professionalisation conflicts within some Mediterranean countries have led to the development of multiple and, at times, antagonistic associations and professional bodies. In Spain, for example, there are over 40 associations (Mercadal-Brotons et al., 2015), whereas in Italy there are four main associations (Scarlata, 2015). In other countries, such as Greece (Tsiris, 2011), there are communication challenges and conflicting situations between professional association, training programmes and governmental departments. Although such challenges tend to remain unarticulated and ‘hidden’ from the professional literature and discourse, they have real implications for the development of the profession within each context and for the morale of each music therapy community.
Overall, this special feature aims to promote a spirit of open dialogue and mutual respect. It is underpinned by a commitment to remain in ongoing dialogue while accepting that we can agree to disagree. As editors we tried to remain true to this commitment, and this became particularly evident in cases where reported practices and concepts were at odds with our own perspectives and understandings of music therapy and its development as a contemporary profession and discipline in Western countries. Indeed, the perspectives presented in some of the reports may sit on the edge or even outside the ‘professional canon’ of music therapy as developed in many contemporary Western countries. In line with the vision of Approaches, this special feature opens up a space where local-global tensions can be voiced (Ridder & Tsiris, 2015b), allowing multiple translations, transitions and borders to be explored. What becomes evident is that definitions of music therapy are inextricably linked to cultural, including spiritual and political, meanings and practices of music, health and illness.
Mediterranean people are known for their hospitality but also for their passionate temperament. We hope that this special feature creates a hospitable and welcoming environment for professional and intercultural exchange where passion can fuel creative action and collaboration instead of conflict. We invite the readers to engage with each report in this spirit of openness and reflexivity. This special feature will hopefully be only the start of future dialogue, debate and constructive critique. To this end, we also invite people to add their voices and perspectives regarding music therapy in the Mediterranean region in relation to dementia and end-of-life care. Music therapists, palliative care practitioners and other professionals are welcome to submit their own papers in the form of articles, reports or letters to the editor.
References
AMPA (2016). Alzheimer and the Mediterranean Report 2016: Overview – challenges – perspectives. Retrieved from https://ampa-monaco.com/files/MAA_Rapport_GB_web_sml.pdf
De Backer, J., Nöcker Ribaupierre, M., & Sutton, J. (2013). Music therapy in Europe: The identity and professionalisation of European music therapy, with an overview and history of the European Music Therapy Confederation. In J. De Backer & J. Sutton (Eds.), The music in music therapy: Psychodynamic music therapy in Europe: Clinical, theoretical and research approaches (pp. 24-36). London: Jessica Kingsley Publishers.
Dileo-Maranto, C. (Ed.). (1993). Music therapy: International perspectives. Saint Louis, MI: MMB Music, Inc.
Fadhil, I., Lyons, G., & Payne, S. (2017). Barriers to, and opportunities for, palliative care development in the Eastern Mediterranean Region. The Lancet Oncology, 18(3), e176-e184.
Froggatt, K., Payne, S., Morbey, H., Edwards, M., Finne-Soveri, H., Gambassi, G., Pasman, H. R., Szczerbinska, K., & Van den Block, L. (2017). Palliative care development in European care homes and nursing homes: Application of a typology of implementation. Journal of the American Medical Directors Association, 18(6), 550.e7-550.e14.
Hesser, B., & Heinemann, H. (Eds.). (2015). Music as a global resource: Solutions for social and economic issues (4th ed.). New York, NY: United Nations Headquarters.
Mercadal-Brotons, M., Sabbatella, P. L., & Del Moral Marcos, M. T. (2017). Music therapy as a profession in Spain: Past, present and future. Approaches: An Interdisciplinary Journal of Music Therapy, 9(1), 111-119. Retrieved from https://approaches.gr/mercadal-brotons-a20150509
Osman, H., Rihan, A., Garralda, E., Rhee, J.Y., Pons, J.J., de Lima, L., Tfayli, A., & Centeno, C. (2017). Atlas of palliative care in the Eastern Mediterranean region. Houston: IAHPC Press. Retrieved from https://dadun.unav.edu/handle/10171/43303
Ridder, H. M., & Tsiris, G. (Eds.). (2015a). Special issue on ‘Music therapy in Europe: Paths of professional development’. Approaches: Music Therapy & Special Music Education, Special Issue 7(1). Retrieved from https://approaches.gr/special-issue-7-1-2015/
Ridder, H. M., & Tsiris, G. (2015b). ‘Thinking globally, acting locally’: Music therapy in Europe. Approaches: Music Therapy & Special Music Education, Special Issue 7(1), 3-9. Retrieved from https://approaches.gr/special-issue-7-1-2015/
Scarlata, E. (2015). Italy. Approaches: Music Therapy & Special Music Education, Special Issue 7(1), 161-162. Retrieved from https://approaches.gr/special-issue-7-1-2015
Schmid, J. (2014). Music therapy training courses in Europe. Thesis at the University of Music and Performing Arts, Vienna, Austria.
Stegemann, T., Schmidt, H. U., Fitzthum, E., & Timmermann, T. (Eds.). (2016). Music therapy training programmes in Europe: Theme and variations. Reichert Verlag.
Tsiris, G. (2011). Music therapy in Greece. Voices: A World Forum for Music Therapy. Retrieved from https://voices.no/community/?q=country-of-the-month/2011-music-therapy-greece
World Health Organization (WHO) (2020). Regional Office for the Eastern Mediterranean Countries. Retrieved from: http://www.emro.who.int/countries.htm
Introduction to music therapy practice (Heiderscheit & Jackson)
Full text linkThis is a review of the book "Introduction to music therapy practice" authored by Annie Heiderscheit and Nancy Jackson.
Title: Introduction to music therapy practice Authors: Annie Heiderscheit & Nancy Jackson Publication year: 2018 Publisher: Barcelona Publishers Pages: 305 ISBN: 978-1-945411-30-
Θεραπευτικές προσεγγίσεις μέσω της τέχνης (Τσέγρας)
Full text linkΤίτλος: Θεραπευτικές προσεγγίσεις μέσω της τέχνης Συγγραφέας: Νικόλαος Τσέγρας Έτος δημοσίευσης: 2014 Εκδότης: ΤόποςΣελίδες: 256 ISBN: 978-960-499-079-
Together in Sound: Music therapy groups for people with dementia and their companions – moving online in response to a pandemic
Full text linkΤο πρόγραμμα Μαζί στον Ήχο [Together in Sound] είναι μια συνεργασία ανάμεσα στο Ινστιτούτο του Cambridge για την Έρευνα στη Μουσικοθεραπεία του Anglia Ruskin University (ARU) και το Saffron Hall Trust, ένα καλλιτεχνικό φιλανθρωπικό οργανισμό που εδρεύει στα περίχωρα του Essex στην Αγγλία. Το πρόγραμμα ξεκίνησε το φθινόπωρο του 2017 προσφέροντας μουσικοθεραπεία σε άτομα με άνοια και τους συνοδούς τους, και περιλαμβάνει ένα πρακτικά προσανατολισμένο ερευνητικό μέρος. Αυτή η αναφορά, η οποία έχει συγγραφεί από κοινού, εστιάζει στον αντίκτυπο της πανδημίας του COVID-19 στο συγκεκριμένο πρόγραμμα και παρουσιάζει την εμπειρία της ομάδας αναφορικά με τη διαδικτυακή μεταφορά των συνεδριών μουσικοθεραπείας από τον Μάρτιο του 2020. Η διαδικτυακή συνέχιση του προγράμματος παρείχε μια αίσθηση συνοχής, υποστήριξης και συνεχιζόμενης διασύνδεσης με τους συμμετέχοντες, οι οποίοι, εξαιτίας της απαγόρευσης κυκλοφορίας στο Ηνωμένο Βασίλειο, παρέμειναν απομονωμένοι στις κατοικίες του. Μετά την περιγραφή του πλαισίου του προγράμματος, η αναφορά αυτή διερευνά τις προκλήσεις και τα οφέλη των διαδικτυακών συνεδριών μέσα από τον αναστοχασμό της ομάδας Μαζί στον Ήχο, συμπεριλαμβάνοντας πιθανές επιπτώσεις για το μέλλον.Together in Sound is a partnership project between the Cambridge Institute for Music Therapy Research at Anglia Ruskin University (ARU) and Saffron Hall Trust, an arts charity based in rural Essex, England. Established in Autumn 2017, the project offers music therapy to people living with dementia and their companions and includes a practice-based research element. This co-authored report concerns the impact of the global COVID-19 pandemic on the project and presents the team’s experience of moving music therapy sessions online in March 2020. Continuing online provided continuity, support, and ongoing connection for participants who, because of the national lockdown in the United Kingdom, were isolated in their own homes. After providing some context about the project, the report explores the challenges and benefits of online delivery of sessions with reflections from the Together in Sound team including potential implications for the future
A conversation about Music and Autism: Speaking for Ourselves
Full text linkΣε αυτή τη συζήτηση, ο μουσικοθεραπευτής Kenneth Aigen παίρνει συνέντευξη από τον εθνομουσικολόγο Michael Bakan πάνω στο θέμα του πρόσφατου βιβλίου του Bakan, Music and Autism: Speaking for Ourselves (Μουσική και Αυτισμός: Μιλώντας για τον Εαυτό μας). Πολλά θέματα και ζητήματα εξετάζονται, από την προάσπιση του αυτισμού και την νευροποικιλομορφία έως τις συγκριτικές συνεκτιμήσεις και αντιπαραθέσεις μουσικοθεραπευτικά βασισμένων και εθνομουσικολογικών προσεγγίσεων για την εμπλοκή των αυτιστικών ατόμων μέσω της μουσικής. Κατά τη διάρκεια της συζήτησης, ο Bakan εξιστορεί τα διάφορα στάδια της δουλειάς του πάνω στο θέμα, από το Music-Play Project (το πρότζεκτ ΜουσικήΠαιχνίδι), στο Σύνολο Artism, μέχρι το πρότζεκτ για το βιβλίο Music and Autism: Speaking for Ourselves. Όλο αυτό το έργο του το διατρέχει η συνεχής επισήμανση για την προσπάθεια κατανόησης των ατόμων σύμφωνα με τους δικούς τους όρους –ως ειδικοί στο να είναι αυτό που είναι– σε αντίθεση με την απόπειρα της αλλαγής των ανθρώπων μέσω θεραπευτικών παρεμβάσεων. Αυτή η αντίληψη ουσιαστικά προσδιορίζεται διττά, τόσο ως θεμελιώδης διάκριση όσο και ως ένα ισχυρό σημείο στο οποίο συγκλίνουν εθνομουσικολογικές και μουσικοκεντρικές μουσικοθεραπευτικές προσεγγίσεις.In this conversation, music therapist Kenneth Aigen interviews ethnomusicologist Michael Bakan on the subject of Bakan’s recent book, Music and Autism: Speaking for Ourselves. Numerous topics and issues are addressed, from autistic self-advocacy and neurodiversity to comparative considerations of music therapy-based vs. ethnomusicological approaches to engaging with autistic people through music. In the course of the dialogue, Bakan chronicles the various stages of his work in this area, from the Music-Play Project, to the Artism Ensemble, to the “Speaking for Ourselves” book project. Unifying all of this work has been a consistent emphasis on endeavouring to understand people on their own terms—as experts at being who they are—rather than on trying to change people through therapeutic interventions. This perspective is ultimately revealed as both a fundamental distinction and a powerful point of convergence between ethnomusicological and music therapy-centred approaches
Bruscia’s clinical techniques for improvisational music therapy in autism research: A scoping review
Full text linkΗ παρούσα οριοθετημένη ανασκόπηση διερευνά τις τεχνικές κλινικού αυτοσχεδιασμού του Bruscia (1987) στην αυτοσχεδιαστική μουσικοθεραπεία όπως αυτές σχετίζονται με την έρευνα της μουσικοθεραπείας στον αυτισμό, με στόχο να προσδιορίσει τις κλινικές μεθόδους που χρησιμοποιούνται πιο συχνά στη μουσικοθεραπεία με άτομα με αυτισμό. Η μελέτη ξεκίνησε ως ένα προκαταρκτικό βήμα σε μία πιλοτική έρευνα που εξετάζει τους τρόπους με τους οποίους οι τεχνικές αυτές αφορούν τους διαφορετικούς τρόπους παιξίματος, των μουσικών σχέσεων και το πώς η χρήση τους επιδρά στην εμπειρία του συμμετέχοντα ως προς τη μουσική του διασύνδεση, επιρροή και έκφραση. Τα άρθρα που συμπεριελήφθησαν στην ανασκόπηση, σύμφωνα με τα κριτήρια επιλογής, έπρεπε να αφορούν την αυτοσχεδιαστική μουσικοθεραπεία με άτομα με αυτισμό όπου συγκεκριμένες τεχνικές είτε να αναφέρονται με σαφήνεια ή να περιγράφονται με λεπτομέρεια. Επιπρόσθετα, όλα τα άρθρα έπρεπε να έχουν δημοσιευτεί σε περιοδικά που ακολουθούν τη διαδικασία ομότιμης αξιολόγησης. Ακολουθώντας ποιοτική θεματική ανάλυση, οι συνηθέστερες τεχνικές κλινικού αυτοσχεδιασμού που χρησιμοποιούνται με άτομα με αυτισμό είναι οι εξής: μίμηση [imitating], αντανάκλαση [reflecting], επέκταση [extending], συγχρονισμός [synchronizing], συμβολισμός [symbolizing], κράτημα [holding], ενσωμάτωση [incorporating] και ρυθμική γείωση [rhythmic grounding]This scoping review explores Bruscia’s (1987) clinical techniques for improvisational music therapy as they relate to music therapy in autism research to determine the most commonly used clinical techniques in music therapy with clients with autism. The work was undertaken as a preliminary step in a pilot study to explore how the techniques can be represented in terms of individual ways of playing, musical relationships; and how the use of the techniques impacts the participant’s experience of musical connection, influence, and expression. To be included in the screening, the research articles had to employ improvisational music therapy with clients with autism, and label the techniques used, or provide a clear description of them. In addition, it was required that articles were published in a peer-reviewed journal. Based on the qualitative thematic analysis, currently the most commonly used clinical improvisation techniques with autistic clients are as follows: imitating, reflecting, synchronising, extending, symbolising, holding, incorporating, and rhythmic grounding
Collaborations within and between dramatherapy and music therapy: Experiences, challenges and opportunities in clinical and training contexts (Oldfield & Carr, Eds.)
Full text linkThis is a review of the book "Collaborations within and between dramatherapy and music therapy: Experiences, challenges and opportunities in clinical and training contexts" edited by Amelia Oldfield and Mandy Carr.
Title: Collaborations within and between dramatherapy and music therapy: Experiences, challenges and opportunities in clinical and training contexts Editors: Amelia Oldfield & Mandy Carr Publication year: 2018 Publisher: Jessica Kingsley Publishers Pages: 256 ISBN: 978-1-78592-135-
Adapting to change, welcoming otherness
Full text linkΤο δεύτερο τεύχος του Approaches το 2020 βρίσκει τον κόσμο ακόμη εν μέσω της πανδημίας του COVID-19. Οι επαγγελματίες μουσικοθεραπείας, οι εκπαιδευτικοί και οι ερευνητές συνεχίζουν να προσαρμόζουν τις πρακτικές τους δημιουργικά και να αναπτύσσουν νέους τρόπους εργασίας καθώς αντιμετωπίζουν τις προκλήσεις που θέτει η πανδημία. Αυτό που καθίσταται σαφές είναι ότι πολλές από αυτές τις αλλαγές δεν είναι απλώς προσωρινά μέτρα. Αντ’ αυτού, έχουν τη δυνατότητα να διευρύνουν την πρακτική, την έρευνα και τη θεωρία, οδηγώντας σε μια επανεξέταση του τρόπου με τον οποίο η μουσικοθεραπεία μπορεί να ασκηθεί, να εννοιολογηθεί, να διδαχθεί και να μελετηθεί. Καθώς αυτή η επανεξέταση γίνεται σταδιακά εμφανής (Lawes, 2020· Molyneux et al., 2020· Rizkallah, 2020), ενθαρρύνουμε την υποβολή κειμένων στο περιοδικό που εξετάζουν τις επιπτώσεις της πανδημίας για τη μουσικοθεραπεία σε τοπικό, εθνικό ή διεθνές επίπεδο.
Παρόλο που δεν αναφέρεται συγκεκριμένα στην πανδημία, το περιεχόμενο αυτού του τεύχους του Approaches φέρνει στο προσκήνιο κοινωνικοπολιτισμικές προοπτικές και βασικά ζητήματα γύρω από το ρόλο της μουσικοθεραπείας στη γήρανση και τη φροντίδα στο τέλος της ζωής. Αυτά τα ζητήματα βέβαια μπορούν κάλλιστα να ενημερώσουν και να συσχετιστούν με το πώς ανταποκρινόμαστε επαγγελματικά και κοινωνικά στον COVID-19. Οι Kirkwood και συνεργάτες παρουσιάζουν μια σύνοψη μιας μελέτης σκοπιμότητας σχετικά με τη μουσικοθεραπεία στην ανακουφιστική φροντίδα, ενώ η Segall εξερευνά τη στάση των μουσικοθεραπευτών προς την ευεξία και τη γήρανση αναφορικά με τα προγράμματα σπουδών. Και τα δύο κείμενα συνδέονται με το υποκείμενο θέμα του ειδικού ένθετου που εμπεριέχεται σε αυτό το τεύχος. Με επιμέλεια του Γιώργου Τσίρη και του Enrico Ceccato, αυτό το ένθετο είναι αφιερωμένο στις μεσογειακές προοπτικές για την άνοια και τη φροντίδα στο τέλος της ζωής καταγράφοντας τη μουσικοθεραπεία σε οκτώ χώρες. Οι διάφορες αναφορές χωρών καταδεικνύουν την αλληλεπίδραση μεταξύ πολιτισμού και πρακτικής, και τα διαφορετικά μονοπάτια ανάπτυξης που έχει ακολουθήσει η μουσικοθεραπεία στην περιοχή της Μεσογείου. Μερικά από αυτά τα μονοπάτια ταιριάζουν πιο άνετα με τις κυρίαρχες δυτικές αφηγήσεις της μουσικοθεραπείας ως σύγχρονου επαγγελματικού πεδίου, ενώ άλλα μονοπάτια συνδέονται στενότερα με παραδοσιακές και, μερικές φορές, μυστικιστικές χρήσεις της μουσικής σε θεραπευτικές τελετουργίες. Τα άρθρα των Katušić και Konieczna-Nowak, και των Abdulbaki και Berger – αν και δεν αποτελούν μέρος του ειδικού ένθετου – προσφέρουν εξίσου πλούσιες κοινωνικοπολιτισμικές προοπτικές εξερευνώντας τα θεραπευτικά όρια στην κλινική πρακτική των Κροατών και Πολωνών μουσικοθεραπευτών, και την παροχή της μουσικοθεραπείας σε περιβάλλοντα υποδοχής Σύριων προσφύγων αντίστοιχα.
Στο σύνολό του – συνυπολογίζοντας την επιλογή των άρθρων, αναφορών, βιβλιοκριτικών και αναφορών από συνέδρια – το τεύχος αυτό σκιαγραφεί μια πλούσια ταπισερί μουσικοθεραπευτικής πράξης καταγράφοντας φωνές και προοπτικές, μερικές από τις οποίες ίσως να μην συμβαδίζουν εύκολα με τον επικρατούμενο λόγο στο πεδίο. Αυτή η ανοικτότητα προς την ετερότητα είναι ένα ολοένα και πιο σημαντικό συστατικό του ήθους του Approaches αναλογιζόμενοι την ανάγκη για περαιτέρω διερεύνηση του πώς τα θέματα περί δικαιοσύνης, ισότητας, καταπίεσης και περιθωριοποίησης επηρεάζουν τη δημιουργία πρακτικής και γνώσης στο πεδίο (Norris, 2020· Whitehead-Pleaux & Tan, 2013).
Κλείνοντας, θα θέλαμε να εκφράσουμε την ευγνωμοσύνη μας σε τρεις συναδέλφους που αποχωρούν από τη συντακτική μας ομάδα στο τέλος του έτους: τη Daphne Rickson, τη Neta Spiro και τη Laura Corrigan. Η καθεμιά τους έπαιξε καθοριστικό ρόλο στην ανάπτυξη του περιοδικού. Η Daphne εντάχθηκε στη συντακτική επιτροπή το 2013 και τρία χρόνια αργότερα έγινε αναπληρώτρια συντάκτρια και συνεργάστηκε επιμελώς με πολλούς συγγραφείς και κριτές. O ευαίσθητος, αυστηρός και διορατικός της τρόπος εργασίας προώθησε και εκπροσώπησε θερμά το ήθος του Approaches και διεύρυνε την εμβέλεια του περιοδικού. Η κληρονομιά της θα συνεχίσει να επηρεάζει και να εμπνέει το συλλογικό μας έργο. Ομοίως, η διεπιστημονική εμπειρογνωμοσύνη της Neta συνέβαλε καθοριστικά στην προαγωγή του έργου μας ως περιοδικού μουσικοθεραπείας με ρητή δέσμευση για διάλογο μεταξύ διαφορετικών κλάδων και επαγγελματικών πεδίων. Τέλος, η συμβολή της Laura επεκτάθηκε πέρα από τον τυπικό της ρόλο ως γλωσσικού συμβούλου για να συμπεριλάβει την ανάπτυξη των λεπτομερειών του βιβλιογραφικού συστήματος στον ιστοχώρο μας και του εσωτερικού οδηγού διόρθωσης και γλωσσικής επιμέλειας του περιοδικού. Καθώς ευχαριστούμε την καθεμιά τους, καλωσορίζουμε επίσης θερμά τις νέες μας συναδέλφους που εντάχθηκαν πρόσφατα στην συντακτική ομάδα: Saphia Abou-Amer, Jodie Bloska, Κωνσταντίνα Κατοστάρη, Crystal Luk, Elizabeth Mitchell, Kivijärvi Sanna, Indra Selvarajah και Rachel Swanick.
Βιβλιογραφια
Lawes, M. (2020). Creating a COVID-19 Guided Imagery and Music (GIM) self-help resource for those with mild to moderate symptoms of the disease. Approaches: An Interdisciplinary Journal of Music Therapy, 1-17. https://approaches.gr/lawes-r20201113/
Molyneux, C., Hardy, T., Lin, Y.-T., McKinnon, K., & Odell-Miller, H. (2020). Together in Sound: Music therapy groups for people with dementia and their companions – moving online in response to a pandemic. Approaches: An Interdisciplinary Journal of Music Therapy, 1-17. https://approaches.gr/molyneux-r20201219/
Norris, M. (2020). A call for radical imagining: Exploring anti-blackness in the music therapy profession. Voices: A World Forum for Music Therapy, 20(3). https://voices.no/index.php/voices/article/view/3167/3081
Rizkallah, M. (2020). The North London Music Therapy Phone Support Service for NHS staff during the COVID-19 pandemic: Α report about the service and its relevance for the music therapy profession. Approaches: An Interdisciplinary Journal of Music Therapy, 1-9. https://approaches.gr/rizkallah-r20201110/
Whitehead-Pleaux, A., & Tan, X. (Eds.). (2013). Cultural intersections in music therapy: Music, health, and the person. Barcelona Publishers.The second issue of Approaches in 2020 sees the world still in the grip of the COVID-19 pandemic. Music therapy practitioners, educators, and researchers continue to adapt their practice creatively and develop new ways of working while navigating the challenges posed by the pandemic. What is becoming clear is that many of these changes are not simply temporary measures. Instead, they hold the potential to broaden practice, research, and theory, leading to a re-visioning of how music therapy can be practised, conceptualised, taught, and researched. As this re-visioning is becoming gradually evident (Lawes, 2020; Molyneux et al., 2020; Rizkallah, 2020), we encourage paper submissions to the journal reflecting on the implications of the pandemic for music therapy on local, national, or international level.
Although not specific to the pandemic, the contents of this issue of Approaches bring to the fore sociocultural perspectives and key considerations around the role of music therapy in ageing and end-of-life care. These considerations of course may well inform and resonate with our professional and societal responses to COVID-19 too. Kirkwood et al. present a synopsis of a feasibility study of music therapy in palliative care, while Segall explores music therapists’ attitude toward wellness and ageing in relation to training curricula. Both papers link to the underlying theme of the special feature contained in this issue. Edited by Giorgos Tsiris and Enrico Ceccato, this special feature is dedicated to Mediterranean perspectives on dementia and end-of-life care documenting music therapy in eight countries. The different country reports showcase the interplay between culture and practice, and the diverse paths of development that music therapy has followed in the Mediterranean region. Some of these paths fit in more easily with dominant Western narratives of music therapy as a contemporary professional field, while other paths are linked more closely to traditional and, at times, mystical uses of music in healing rituals. The articles by Katušić and Konieczna-Nowak, and by Abdulbaki and Berger – while not part of the special feature – offer equally rich sociocultural perspectives exploring therapeutic boundaries in the clinical practice of Croatian and Polish music therapists, and the provision of music therapy in Syrian refugee host environments respectively.
Overall – when taken together with the selection of articles, reports, book reviews and conference reports – this issue outlines a rich tapestry of music therapy practice documenting voices and perspectives some of which may not sit comfortably with the prevailing discourse in the field. This openness to otherness is an ever more important component of the ethos of Approaches while considering the need to explore further how issues of justice, equity, oppression, and marginalisation influence practice and knowledge generation in the field (Norris, 2020; Whitehead-Pleaux & Tan, 2013).
In closing, we would like to express our gratitude to three colleagues who are stepping down from our editorial team at the end of this year: Daphne Rickson, Neta Spiro, and Laura Corrigan. Each and every one of them have played a crucial role in the development of the journal. Daphne joined the editorial board in 2013 and three years later she became associate editor and worked diligently with numerous authors and reviewers. Her sensitive, dedicated, and insightful way of working championed the ethos of Approaches and expanded the journal’s reach. Her legacy will continue to influence and inspire our collective work. Equally, Neta’s interdisciplinary expertise has been instrumental in the advancement of our work as a music therapy journal with an explicit commitment to dialogue across different disciplines and professional fields. Lastly, Laura’s contribution expanded beyond her standard role as a language consultant to include the development of the referencing style details on our website and of the journal’s in-house proofreading guide. As we thank each of them, we also warmly welcome our new colleagues who recently joined the editorial team: Saphia Abou-Amer, Jodie Bloska, Konstantina Katostari, Crystal Luk, Elizabeth Mitchell, Kivijärvi Sanna, Indra Selvarajah, and Rachel Swanick.
References
Lawes, M. (2020). Creating a COVID-19 Guided Imagery and Music (GIM) self-help resource for those with mild to moderate symptoms of the disease. Approaches: An Interdisciplinary Journal of Music Therapy, 1-17. https://approaches.gr/lawes-r20201113/
Molyneux, C., Hardy, T., Lin, Y.-T., McKinnon, K., & Odell-Miller, H. (2020). Together in Sound: Music therapy groups for people with dementia and their companions – moving online in response to a pandemic. Approaches: An Interdisciplinary Journal of Music Therapy, 1-17. https://approaches.gr/molyneux-r20201219/
Norris, M. (2020). A call for radical imagining: Exploring anti-blackness in the music therapy profession. Voices: A World Forum for Music Therapy, 20(3). https://voices.no/index.php/voices/article/view/3167/3081
Rizkallah, M. (2020). The North London Music Therapy Phone Support Service for NHS staff during the COVID-19 pandemic: Α report about the service and its relevance for the music therapy profession. Approaches: An Interdisciplinary Journal of Music Therapy, 1-9. https://approaches.gr/rizkallah-r20201110/
Whitehead-Pleaux, A., & Tan, X. (Eds.). (2013). Cultural intersections in music therapy: Music, health, and the person. Barcelona Publishers
Music therapy in Greece and its applications in dementia and end-of-life care
Full text linkΣε αυτή την αναφορά εστιάζουμε στη μουσικοθεραπεία στην Ελλάδα και στις εφαρμογές της στην άνοια και τη φροντίδα στο τέλος της ζωής. Αρχικά κάνουμε μια επισκόπηση της μουσικοθεραπείας στη χώρα και σκιαγραφούμε βασικές εξελίξεις σχετικά με την επαγγελματοποίηση, την εκπαίδευση, την έρευνα και την επιστημονικότητα. Διερευνώντας αυτές τις εξελίξεις από μια κριτική προοπτική, αναφερόμαστε σε τρέχουσες συζητήσεις και στις επιπτώσεις τους για την πρόοδο του πεδίου. Η διερεύνηση αυτή προσφέρει μια βάση για την κατανόηση των σημερινών εφαρμογών της μουσικοθεραπείας στην άνοια και τη φροντίδα ενηλίκων στο τέλος της ζωής στην Ελλάδα. Παράλληλα με την παροχή παραδειγμάτων από πρόσφατα προγράμματα και πρωτοβουλίες, κάνουμε ευρύτερες αναφορές σχετικά με την κατάσταση της άνοιας και της φροντίδας στο τέλος της ζωής. Καταλήγουμε προσφέροντας κάποιες προοπτικές για μελλοντικές πιθανές εξελίξεις στο πεδίο.In this report we focus on music therapy in Greece and its applications in dementia and end-of-life care. Initially we offer an overview of music therapy in the country and outline key developments in terms of professionalisation, education, research and scholarship. Exploring these developments from a critical perspective, we acknowledge contemporary debates and their implications for the advancement of the field. This exploration offers a platform for understanding the current applications of music therapy in dementia and adult end-of-life care in Greece. We provide examples of recent projects and initiatives alongside broader considerations regarding the status of dementia and end-of-life care. We conclude by offering some perspectives for future potential developments in the field