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Re-positioning music therapy service evaluation: a case of five Nordoff-Robbins music therapy service evaluations in neuro-rehabilitation
Get PDFService evaluations in music therapy often have local, functional and immediate goals, such as ensuring quality and continuing funding. However, given the amount and type of information collected in service evaluation projects from therapists, clients and those around them, such – often unpublished – projects may constitute a hidden treasure trove of information particularly about the perceived impact of music therapy services. In addition to exploring potentially challenging aspects of service evaluations in music therapy, this article considers how these can contribute to the understanding of music therapy through analysis of five service evaluations. These service evaluations share a common approach (Nordoff-Robbins) and area of work (neuro-rehabilitation) and were informed by sociocultural epistemologies underpinning contemporary Nordoff-Robbins practices. Such epistemologies consider people’s everyday experiences and contexts, and encourage an exploration of the music therapy service in its entirety. It is from this perspective that this study explores the impact of music therapy services in neuro-rehabilitation settings as perceived and reported by clients and those around them. Although the perceived impact of music therapy beyond the client has been previously discussed, this seems to have been less emphasised in neuro-rehabilitation settings where the focus tends to remain on the client and their rehabilitation progress. We discuss how the context-sensitive nature of such evaluations can enable the potential for identification of areas of impact that can feed back into practice as well as generate research questions
‘You wanna hear the real story?’ (Mis)remembering masculinity in Clint Eastwood's adaptation of Jersey Boys
No full textThis chapter considers the particular version of masculinity that the film presents, and argues that the choices made in moving from stage to screen have exacerbated the work's underlying problems in its presentation of gender, sexuality and race. Clint Eastwood's film exacerbates the problems in the original text, and both stage and film version rely on the misrepresentation of homosexuality as inseparable from camp, and as camp as inseparable from theatrical flamboyance. Eastwood's film almost entirely succeeds in pulling Jersey Boys away from the risky business of theatricality, until all of a sudden it can bear it no longer. The absence of African-American voices in a story about a musical form dominated by black groups is constantly referenced by 'slips' in Jersey Boys, slips which serve to highlight a racism so well established and accepted in the musical that is has largely drawn little comment
Book review: Robert Gordon, Olaf Jubin, and Millie Taylor: British Musical Theatre since 1950 (London: Bloomsbury Methuen Drama, 2016)
No full textMancunian mods: review of ‘British musical modernism: the Manchester Group and their contemporaries’ by Philip Rupprecht
No full textBook review: 'Debussy’s Pelléas et Mélisande: the staging by Albert Carré' by Michela Niccolai, translated by Lesley Wright
No full textLearning in the spotlight: approaches to self-regulating and profiling performance
No full textThe skills needed to perform music well and to communicate effectively as a performer are truly multifaceted. Increasingly, new methods and technologies are enabling a better understanding of how musicians perform and some of the reasons great performances are so compelling. Yet, optimizing performance skills can still be an elusive task for musicians. Implicit in this is the need for performers to attain a high level of self-awareness regarding their skills and behaviours, appropriate development of those skills and behaviours, and effective implementation of them within high-stress performance situations. This chapter provides an overview of self-regulated learning and examines its relevance to enhancing musical performance. To assist musicians in applying self-regulatory processes to their own assessment, development and review of performance skills, the authors introduce an approach widely used in sport—performance profiling—as a means of facilitating effective ‘self-regulated performing’
Proceedings of the 8th conference of the European Network of Music Educators and Researchers of Young Children
No full textWe proudly present the Proceedings for the eighth Conference of the European Network for Music Educators and Researchers of Young Children (EuNet MERYC). The MERYC network aims to create a platform where both researchers and practitioners can meet, share expertise & experiences, enthusiasm and insights on music education for young children. This proceedings book shows the diversity of early childhood music research and practice. A
diversity with regard to heritage of methods and approaches, philosophies and theoretical ideas, but also languages and cultures that form the basis that inspires enthusiastic music
educators and driven researchers to take new initiatives. As a novelty, EuNet MERYC has opened its doors to non-European educators and researchers. Alongside European early
childhood music research and practices you will be able to read abstracts of colleagues from the USA and Australia in this abstract book. *** This proceedings book is available open access at the 'Official URL' link given below. **
Reacting to audition stress
No full textResearch demonstrating how performers’ hearts respond to the pressures of an audition. Read the full report: Chanwimalueang T, Aufegger L, Adjei T, Wasley D, Cruder C, Mandic DP, & Williamon A (2017), Stage call: cardiovascular reactivity to audition stress in musicians, PLOS One, 12 (e0176023), 1-14. http://dx.doi.org/10.1371/journal.pone.0176023. See also http://researchonline.rcm.ac.uk/id/eprint/148/
Dave Camlin: case study
No full textThis chapter (which contains the 'Dave Camlin: case study' section) describes a range of project ideas that guide the direction of the field of community music. As a scholarly enterprise, community music is garnering the interest of an increasing amount of people who seek to explore the field's theory and practice from a researcher's perspective. Growth in community music research, alongside recognition given to the culture of inquiry that community musicians work within, has exciting potential to support the field through new insights and understanding. The existence of community music graduate programmes has proffered interesting new perspectives in terms of research projects and methods. One graduate, working in a faith-based music community, discerned that the key principles that inform the practice of community music are the same as those that sit as central to the ethics of many faith traditions. The undergraduate and graduate studies conducted led to transformational changes in worship through the facilitation of creative and innovative musical participation from the congregations