Investigation into the role of improvisation within the discipline of music therapy is achieved through academic research, interviews with performers and music therapy clinicians, and the examination of a case study of a seven year old boy with multiple impairments forms the basis of this study.
Musical examples based upon this research are offered as working models where the application of improvisation can be applied.
Contrasting the use of improvisation within performance, and the benefits of creative music within the health care environment, with the application of music therapy and its particular aims and goals is used in defining what music therapy is.
An investigation into the therapeutic application of music within the therapy environment, and psycho-dynamic principles, are used to clarify music therapy’s position within the health care system.
Examples of how improvisation can be applied are offered, detailing how improvisation can be used to develop an atmosphere of trust and exploration, leading to and developing an interpersonal relationship between client and clinician. Investigating these clearly shows that the needs of the client are central to this relationship.
Music therapy is the analytically informed, and evidence based use of music within the therapeutic environment to produce clinical goals, and clinical aims, that are centered on the needs of the client. This investigative research fully supports this premise.
Table of Contents
Chapter: 1 Introduction
Chapter: 2 Defining Music Therapy
2.1 Drawing a connection between music and the brain
Chapter: 3 Therapeutic Improvisation
Chapter: 4 Improvisation in Action
4.1 Dialoguing
4.2 Creative Music Therapy with a Boy with Multiple Impairments
Chapter: 5 Conclusion
Research Objectives and Core Themes
This dissertation investigates the role of improvisation within the discipline of music therapy, examining the differences between musical performance and clinical application through academic research, expert interviews, and a detailed case study of a seven-year-old boy with multiple impairments.
- The distinction between aesthetic musical performance and therapeutic improvisation.
- The utilization of music as a non-verbal tool for communication and connection.
- Clinical modeling and procedural improvisation techniques within the therapeutic environment.
- The impact of harmonic, tonal, and rhythmic grounding on client engagement.
- The role of the music therapist in creating a safe, responsive space for client-led exploration.
Excerpt from the Publication
Creative Music Therapy with a Boy with Multiple Impairments
In a case study compiled and conducted by John Carpente,18 Assistant Professor of Music and Music Therapy at Molloy College New York, and founder, and executive director of The Rebecca Centre for music therapy.19 An excellent insight into the application and evidence based use of Creative Music Therapy is given. The study which lasted 20 weeks was centred on the ‘individual therapy in which therapist and client improvise music together’ (Carpente, 2015). This therapy concerned a seven year old boy named, Mikey, who was diagnosed with Autism, Down syndrome, Attention deficit disorder, a communication disorder, and a behavioural disorder.
The case study begins with a full clinical and medical assessment, Mikey’s family circumstances and relationship to his parents and siblings is given full consideration. The clinical assessment which took place over the course of five sessions allowed the team to fully evaluate Mikey’s individual circumstances, and to begin to formulate a goal based and strategic plan in which to assess Mikey’s individual needs.
From the outset musical instruments were introduced to Mikey, they were placed in the centre of the room, on the floor, with no enticement other than them just being there. All sessions were videotaped; a moment by moment log was kept of each session in which the therapist recorded personal reactions and reflections along with clinical rationale and intent.
Summary of Chapters
Chapter: 1 Introduction: Discusses common misconceptions about improvisation and establishes the framework for comparing musical performance with therapeutic practice.
Chapter: 2 Defining Music Therapy: Explores professional definitions of music therapy and examines the neurological and psychodynamic connections between music and the human psyche.
Chapter: 3 Therapeutic Improvisation: Outlines the fundamental differences between musical improvisation in performance and clinical improvisation, focusing on goals and the therapist-client relationship.
Chapter: 4 Improvisation in Action: Provides practical examples of clinical techniques, including dialoguing, grounding, and a comprehensive case study of working with a client with multiple impairments.
Chapter: 5 Conclusion: Synthesizes the research findings, emphasizing that music therapy is a medical discipline centered on individual clinical goals and non-verbal communication.
Keywords
Music Therapy, Improvisation, Clinical Improvisation, Psychodynamic, Musical Performance, Therapeutic Relationship, Grounding Techniques, Dialoguing, Autism, Non-verbal Communication, Client-Centered, Case Study, Musical Models, Psychological Development, Nordoff-Robbins.
Frequently Asked Questions
What is the primary focus of this research?
The work focuses on defining the specific role of improvisation within music therapy and distinguishing it from conventional musical performance.
What are the core thematic areas?
The central themes include clinical improvisation techniques, the development of musical models for therapy, and the use of music to foster interpersonal relationships in clinical settings.
What is the main objective or research question?
The primary goal is to establish the distinct differences between music as a performance art and music as a therapeutic tool for accomplishing specific clinical aims.
Which scientific methodology is employed?
The research utilizes qualitative methods, including academic literature review, interviews with professional musicians and music therapy clinicians, and a longitudinal case study approach.
What does the main body cover?
It covers theoretical frameworks of improvisation, specific technical approaches like grounding and dialoguing, and an in-depth case study of a child with multiple impairments.
Which keywords best characterize the work?
Key terms include Music Therapy, Clinical Improvisation, Psychodynamic, Therapeutic Relationship, and Non-verbal Communication.
How does the author define clinical improvisation?
It is defined as the use of musical improvisation within a framework of trust, specifically designed to meet the therapeutic needs of the client rather than to achieve aesthetic perfection.
What is the significance of the case study presented in Chapter 4?
It demonstrates how a therapist moves from an initial failed approach of "filling the space" to a more effective model of "leaving space," allowing the client to take an active, self-driven role in the musical dialogue.
What is meant by the term "grounding" in this context?
Grounding refers to tonal, harmonic, or rhythmic interventions by the therapist that provide a sense of structure and safety, helping a client feel "anchored" when their improvisation lacks direction.
- Citation du texte
- Robert Sinclair (Auteur), 2015, The Role of Improvisation within Music Therapy, Munich, GRIN Verlag, https://www.grin.com/document/341141
