482 research outputs found
Meaningful Interaction in a Local Context:Music Therapy with Children having Severe Functional Limitations including Autism (Keynote)
No full textThis keynote is based on a Ph.D. thesis on development of socially meaningful interaction in music therapy with children with very poor communication skills (Holck 2002). The aim was to identify some of the conditions, whereby actions can be understood as meaningful - that is, whereby the child and the music therapist can 'read' each other's actions as socially meaningful in the context. Theoretically the approach was informed by interaction theory and infant research, pointing out the importance of a joint context, understood as a joint interaction history as a basis for meaningful interaction. Through the method of qualitative video analysis (see Holck et al. 2005), “Interaction Themes” were identified, defined and delimitated as examples of joint interaction histories between children and their music therapists (Holck 2004). During the keynote, video recordings of Interaction Themes will be shown, followed by an explanation of the clinical significance of the common interaction history embodied in each Interaction Theme. On a more general level, a social-pragmatic point of view will be discussed in relation to the effect of music therapy with these children. Holck, U. (2002) ’Kommunikalsk’ Samspil i Musikterapi [Eng.: ’Commusical’ Interplay in Music Therapy. Qualitative Video Analyses of Musical and Gestural Interactions with Children with Severe Functional Limitations, including Children with Autism]. Unpubl. PhD thesis, Aalborg Universitet. Holck, U. (2004) Interaction Themes in Music Therapy – Definition and Delimitation. Nordic Journal of Music Therapy 13(1): 3-19. Holck, U, Oldfield, A. & Plahl, C. (2005) Video Micro Analysis in Music Therapy Research, a Research Workshop. In Aldridge, D., Fachner, J. & Erkkilä, J. (eds) Many Faces of Music Therapy – Proceedings of the 6th European Music Therapy Congress, June 16-20, 2004 Jyväskylä, Finland. P. 1094-1110. eBook (PDF) available at MusicTherapyToday.com Vol.6. Issue 4 (November 2005)
An Ethnografic Approach to Video Analysis
No full textThe overall purpose in the ethnographic approach to video analysis is to become aware of implicit knowledge in those being observed. That is, knowledge that cannot be acquired through interviews. In music therapy this approach can be used to analyse patterns of interaction between client and therapist. This can be interaction patterns which take place outside of the therapists awareness, because they are very subtle or because the therapist takes them for granted. Or it can be patterns of interaction that, because of the therapist' "blind spots", are repeated without closer reflection.After a short introduction to the ethnographic approach, the workshop participants will have a chance to try out the method. First through a common exercise and then applied to video recordings of music therapy with children with severe communicative limitations. Focus will be on patterns of interaction, followed by a discussion of their significance for the therapeutic interaction.Literature: Holck, U, Oldfield, A. and Plahl, C. (2005) Video Micro Analysis in Music Therapy Research, a Research Workshop. In: Aldridge, D., Fachner, J. & Erkkilä, J. (Eds) Many Faces of Music Therapy - Proceedings of the 6th European Music Therapy Congress, June 16-20, 2004 Jyväskylä, Finland. P. 1094-1110. eBook available at MusicTherapyToday.com Vol.6. Issue 4 (November 2005).Holck, U. (2007). An Ethnographic Descriptive Approach to Video Micro Analysis. In: T. Wosch & T. Wigram (Eds.) Microanalysis in music therapy: Methods, Techniques and Applications in Music Therapy for Music Therapy Clinicians, Educators, Researchers and Students. London: Jessica Kingsley.</p
Music Therapy for children with special needs:Current research and the links to developmental psychology and communicative musicality
No full textMusic therapy can meet the basic needs of children with special needs, such as behavioral problems, attention skills, social skills, emotional needs and intersubjective skills. In addition cognitive skills can be strengthened if the basic needs are fulfilled. The lecture gives an overview of the current music therapy research in the field, i.e. the results of effect studies as well as research focusing on how music therapy works or why we can see this effect. The developmental psychology, informed by the infant research and neuro-affective psychology, gives a ground to understand what development requires. As well it informs us about developmental steps that need to be enlarged, when working with children with special needs. According to neuro-affective psychology, arousal regulation is the basis for any social attention and therefore development, but the arousal regulation needs to be situated in a relational setting with an emotionally involved adult (Hart, 2006). Just like in early infant-parent interplay the development of inter-synchronicity is of great importance on this level. Moving further, playing with common vitality forms (Stern, 2010) and emotional attunement are central steps, followed by issues of more mental character forming the identity. Music can obviously be used in many ways here, but music as such cannot be seen as an isolated phenomenon when working in music therapy with children with special needs. The early infant-parent interplay is marked by musical traits, conceptualized by Malloch & Trevarthen (2009) as inborn ‘communicative musicality’. Communicative musicality provides the ground for early interplay and attachment, cognitive development and language, and characterizes human interplay throughout the life. For children who cannot join into a normal development music can be used to reinforce the communicative musicality; to augment the pulse of interaction in order to develop inter-synchronicity, develop turn-taking capacity, common history of interaction and social and emotional skills etc. (Holck, 2004; 2014). Within a developmental-relational approach to music therapy there is a strong focus on the therapist’s ability to relate and to follow the child’s lead instead of e.g. teaching musical skills as such. The last part of the lecture will focus on this in connection with issues on clinical assessment and evaluation of music therapy inside and outside music therapy (Wigram, 1999). References Hart, S. (2008). Brain, Attachment, Personality - An Introduction to Neuroaffective Development. E-book, London: Karnac Books. Holck, U. (2004). Interaction Themes in Music Therapy – Definition and Delimitation. Nordic Journal of Music Therapy 13(1), 3-19. Holck, U. (2014). Kommunikativ musikalitet – et grundlag for musikterapeutisk praksis. I L.O. Bonde (red.), Musikterapi - teori, uddannelse, praksis, forskning. En håndbog om musikterapi i Danmark. (Kapitel 2.3.4). Århus: Klim. (Will be translated) Malloch, S. & Trevarthen, C. (Eds) (2009). Communicative Musicality. Exploring the basis of human companionship. Oxford: Oxford University Press. Stern, D. N. (2010). Forms of Vitality. Oxford: Oxford University Press. Wigram, T. (1999). Assessment Methods in Music Therapy: A Humanistic or Natural Science Framework? Nordic Journal of Music Therapy 8(1), 7-25.Music therapy can meet the basic needs of children with special needs, such as behavioral problems, attention skills, social skills, emotional needs and intersubjective skills. In addition cognitive skills can be strengthened if the basic needs are fulfilled. The lecture gives an overview of the current music therapy research in the field, i.e. the results of effect studies as well as research focusing on how music therapy works or why we can see this effect. The developmental psychology, informed by the infant research and neuro-affective psychology, gives a ground to understand what development requires. As well it informs us about developmental steps that need to be enlarged, when working with children with special needs. According to neuro-affective psychology, arousal regulation is the basis for any social attention and therefore development, but the arousal regulation needs to be situated in a relational setting with an emotionally involved adult (Hart, 2006). Just like in early infant-parent interplay the development of inter-synchronicity is of great importance on this level. Moving further, playing with common vitality forms (Stern, 2010) and emotional attunement are central steps, followed by issues of more mental character forming the identity. Music can obviously be used in many ways here, but music as such cannot be seen as an isolated phenomenon when working in music therapy with children with special needs. The early infant-parent interplay is marked by musical traits, conceptualized by Malloch & Trevarthen (2009) as inborn ‘communicative musicality’. Communicative musicality provides the ground for early interplay and attachment, cognitive development and language, and characterizes human interplay throughout the life. For children who cannot join into a normal development music can be used to reinforce the communicative musicality; to augment the pulse of interaction in order to develop inter-synchronicity, develop turn-taking capacity, common history of interaction and social and emotional skills etc. (Holck, 2004; 2014). Within a developmental-relational approach to music therapy there is a strong focus on the therapist’s ability to relate and to follow the child’s lead instead of e.g. teaching musical skills as such. The last part of the lecture will focus on this in connection with issues on clinical assessment and evaluation of music therapy inside and outside music therapy (Wigram, 1999). References Hart, S. (2008). Brain, Attachment, Personality - An Introduction to Neuroaffective Development. E-book, London: Karnac Books. Holck, U. (2004). Interaction Themes in Music Therapy – Definition and Delimitation. Nordic Journal of Music Therapy 13(1), 3-19. Holck, U. (2014). Kommunikativ musikalitet – et grundlag for musikterapeutisk praksis. I L.O. Bonde (red.), Musikterapi - teori, uddannelse, praksis, forskning. En håndbog om musikterapi i Danmark. (Kapitel 2.3.4). Århus: Klim. (Will be translated) Malloch, S. & Trevarthen, C. (Eds) (2009). Communicative Musicality. Exploring the basis of human companionship. Oxford: Oxford University Press. Stern, D. N. (2010). Forms of Vitality. Oxford: Oxford University Press. Wigram, T. (1999). Assessment Methods in Music Therapy: A Humanistic or Natural Science Framework? Nordic Journal of Music Therapy 8(1), 7-25
Book symposium on Even Ruud's Music Therapy. Improvisation, communication and culture
No full textNotes on Music Therapy: Improvisation, Communication and Culture By: Even Ruud Comment A: Improvisation, Interplay and Interpretation By: Ulla Holck Comment B: Music and Identity By: Thomas Schepelern Comment C: A Multiparadigmatic Adventure By: Lars Ole Bonde Comment D: Communication, Culture, and Context By:Tony Wigman Closing Comments By: Even Ruud.</p
Music Therapy for children with special needs - clinical practice and assessment in the light of developmental psychology and communicative musicality:Basic music therapy methods and techniques used in children with special needs, informed by developmental psychology
No full textThe workshop starts with an overall introduction to the basic needs of the children with special needs related to the four main methods within music therapy (Bruscia, 2014): Receptive methods, pre-composed music (e.g. movement songs), composing (e.g. song writing) and improvisation. The workshop continues with practices on basic improvisational techniques related to time, form and emotions: synchronization, turn-taking, theme-with-variations, matching/attunement, vitality forms, simple musical playing rules, etc. The techniques are connected to macro- and micro-regulation of arousal and emotions in music therapy, the use of humor and playing with time. Although improvisational, most of these techniques are used within the other main music therapy methods, e.g. song-writing, and can be understood in the light of the theory of communicative musicality (Malloch & Trevarthen, 2009; Stern, 2010). The practices will continuously be connected with a relational approach, and ways the music therapy research as well as developmental psychology can inform the clinical work. Literature for further reading Bruscia, K. (2014, 3rd). Defining Music Therapy. E-book. Gilsum: Barcelona Publishers Holck, U. (2004). Turn-taking in music therapy with children with communication disorders. British Journal of Music Therapy, 18(2), 45-53. Malloch, S. & Trevarthen, C. (Eds) (2009). Communicative Musicality. Exploring the basis of human companionship. Oxford: Oxford University Press. Stern, D. N. (2010). Forms of Vitality. Oxford: Oxford University Press. Wigram, T. (2004). Improvisation. Methods and Techniques for Music Therapy Clinicians, Educators and Students. London: Jessica Kingsley Publishers.The workshop starts with an overall introduction to the basic needs of the children with special needs related to the four main methods within music therapy (Bruscia, 2014): Receptive methods, pre-composed music (e.g. movement songs), composing (e.g. song writing) and improvisation. The workshop continues with practices on basic improvisational techniques related to time, form and emotions: synchronization, turn-taking, theme-with-variations, matching/attunement, vitality forms, simple musical playing rules, etc. The techniques are connected to macro- and micro-regulation of arousal and emotions in music therapy, the use of humor and playing with time. Although improvisational, most of these techniques are used within the other main music therapy methods, e.g. song-writing, and can be understood in the light of the theory of communicative musicality (Malloch & Trevarthen, 2009; Stern, 2010). The practices will continuously be connected with a relational approach, and ways the music therapy research as well as developmental psychology can inform the clinical work. Literature for further reading Bruscia, K. (2014, 3rd). Defining Music Therapy. E-book. Gilsum: Barcelona Publishers Holck, U. (2004). Turn-taking in music therapy with children with communication disorders. British Journal of Music Therapy, 18(2), 45-53. Malloch, S. & Trevarthen, C. (Eds) (2009). Communicative Musicality. Exploring the basis of human companionship. Oxford: Oxford University Press. Stern, D. N. (2010). Forms of Vitality. Oxford: Oxford University Press. Wigram, T. (2004). Improvisation. Methods and Techniques for Music Therapy Clinicians, Educators and Students. London: Jessica Kingsley Publishers
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