By Kenneth E. Bruscia
This publication offers forty two case histories, every one describing the method of song remedy from starting to finish. The instances comprise young children, youth, and adults receiving person and team remedy in psychiatric, clinical, academic or neighborhood settings. With authors from 9 nations, the ebook info a extensive spectrum of ways and strategies in tune treatment. it may be used as a reference, a textbook for education scholars, or as an creation to the sector. The essence of song treatment is captured, now not within the unmarried voice of 1 therapist yet in a powerful refrain of many. It does this through telling the relocating tales of individuals from worldwide who've been helped via song remedy and the relationships constructed with those unparalleled song therapists.
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Extra info for Case Studies in Music Therapy
Gabriela showed mild to moderate deficits in physical, cognitive, and language areas, generally functioning as a 12- to 18-month-old child. She was able to walk with assistance, but seemed to experience disequilibrium, anxiety, and possibly physical discomfort with movement, in part due to her over-large head and decreased muscle tone. She preferred to be carried. Fine motor coordination was also delayed. Gabriela had little spontaneous or purposeful speech. Her most frequent verbalizations were echolalic repetitions of phrases she had heard during the day.
The music moved through a short, halting improvisation and then stopped. At the end of the session, I was stunned as Gabriela spoke in an unusually appropriate fashion and asked for several songs that had been part of her repertoire with Jo and me. It was surprising to hear her speak with such clarity and directiveness. Though she was grieving for Jo, and still getting used to being alone with me again, she knew that this was her music place. She did not want to leave, she needed more. The following session proved her need.
David generally supplied the musical elements of rhythm, increased tempo and volume, and vertical harmonies. He often initiated change and risktaking. Jo's music was characteristically fluid, effecting changes through incremental modifications. She contributed linear rather than chordal harmonies. The timbre and register of her voice and violin communicated a feminine quality, reflected also in her style of interaction. (We realised after these sessions were over that Gabriela, blind as she was, would not have been able to picture Jo playing the violin.
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