Download A Comprehensive Guide to Music Therapy: Theory, Clinical by Tony Wigram, Inge Nygaard Pedersen, Lars OLE Bonde PDF

By Tony Wigram, Inge Nygaard Pedersen, Lars OLE Bonde

Tune therapists, as in clinical and paramedical professions, have a wealthy range of ways and techniques, usually built with particular relevance to satisfy the wishes of a definite consumer inhabitants. This ebook displays the various parts of such variety, and is a completely complete advisor to gaining access to and knowing the information, thought, examine effects and medical results which are the rules of this box.

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Extra resources for A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training

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There is no international consensus concerning the classification of the areas and topics of music psychology. This becomes obvious in a comparison of the contents in different recognized handbooks. Deutsch (1982, 1999 second edition), who has edited one of the few handbooks within the cognitive tradition, emphasizes topics in music perception. The same can be said about Hodges (1980, 1996a second edition). However, the German literature is very different from the American. Bruhn et al. (1985) place the basic questions of music psychology in a cultural and social context, while Motte-Haber (1985) makes knowledge of music a central category.

For example, singers find that their unborn babies are quieter when they are singing, and mothers who play instruments notice that their unborn children become more active while they are playing. There is an increase in body tension in crying babies, and while low frequencies seem to have pleasant associations, high frequencies have unpleasant ones. It has also been suggested that one attraction of ‘beat’, pop or very rhythmic music is the emotional link with the security of the mother’s womb. Tapes have been produced of the sounds of the womb, including the sound of the placenta and the blood movement in the pulses from the umbilical chord.

However, recently other case reports have contradicted this. In the research on music perception, Milner (1962) suggested that the right hemisphere is overwhelmingly concerned with musical activity. Perhaps a good compromise is found in the study by Bever and Chiarello (1974), who found that naive listeners perceive melody in a Gestalt fashion, while musically experienced listeners tend to look at relationships between musical elements. Therefore they produced the hypothesis that a holistic appreciation is carried out by the right hemisphere, whereas the detailed analysis of the musical ‘patchwork’ will be carried out by the left.

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