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Tune therapists, as in scientific and paramedical professions, have a wealthy range of methods and strategies, usually built with particular relevance to fulfill the desires of a definite shopper inhabitants. This e-book displays the various elements of such range, and is a completely complete consultant to getting access to and realizing the guidelines, conception, examine effects and medical results which are the rules of this box.
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Extra info for A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training
Composer–performer–listener or client–therapist. Music can be a direct expression of a client’s emotions, or a musical representation – symbolic or metaphorical – of spiritual or complicated psychological states and conditions, or the musical expression can be an analogy to the client’s being-in-the-world (D. Aldridge 1996a; Bruscia 1994, 1998a; Pavlicevic 1997; Smeijsters 1999). 3. Yes, music can have meaning even if it cannot be expressed in words. This ‘tacit knowledge’ or ‘inexpressible meaning’ can be found at different levels.
Music as stimulus. • The syntactical level – corresponding to music as an aesthetic phenomenon: the organized or structured musical elements. An analysis on this level (traditional academic musical analysis) has focus on a precise description and interpretation of musical elements, their role in the musical process, their interplay and functions in the therapeutic interaction. Music as therapy. • The semantic level – corresponding to music as expression and meaning: the ‘message’ of the music or its references to an external or internal world.
Natural science and humanistic views exist side by side, and we consider them complementary and equally important. , while research within the humanistic tradition prefers the use of interviews, participant observation, self-inquiry, narratives and hermeneutic interpretation. It is possible to make a distinction between a psychological understanding of a single tone and music. The first type is concerned with the study of human response to delineated and carefully defined stimuli (tones, rhythms, sounds), while the latter studies the experience of complex, often naturally produced phenomena (melodies, musical interaction).