Music therapy student supervision: considering aspects of resistance and parallel processes in the supervisory relationship with students in final clinical placement

2004 ◽  
Vol 31 (2) ◽  
pp. 67-76 ◽  
Author(s):  
Jane Edwards ◽  
Barbara Daveson
Keyword(s):  
Music Therapy ◽  
Clinical Placement ◽  
Supervisory Relationship ◽  
Parallel Processes ◽  
Student Supervision

Supervision in Context: A Balancing Act

1997 ◽  
Vol 11 (1) ◽  
pp. 4-12 ◽  
Author(s):  
Sandra Brown
Keyword(s):  
Music Therapy ◽  
Case Material ◽  
Supervisory Relationship

This paper explores the concept of supervision in general, and music therapy supervision in particular. It suggests factors which have to be taken into account in each supervisory relationship, and looks at finding a balance in accommodating these factors within a clear supervisory frame. This is illustrated by case material from the author's own supervisory work.

scholarly journals How was a family-whānau centred music therapy approach, demonstrated within a student music therapist’s clinical placement, at a rehabilitation clinic for adults with an acquired brain injury?

2021 ◽  
Author(s):  
◽  
Retts van Dam
Keyword(s):  
Music Therapy ◽  
Brain Injuries ◽  
Secondary Analysis ◽  
Well Being ◽  
Interdisciplinary Teams ◽  
Space And Place ◽  
Clinical Placement ◽  
Internal Space ◽  
Rehabilitation Centre ◽  
Therapy Approach

<p>Abstract  This project explores how the family-whānau centred music therapy approach was demonstrated, by a student music therapist on clinical placement, within a rehabilitation centre for adults with traumatic brain injuries. Parallel links between the Samoan fale tele metaphor of health and family-whānau centred approaches within music therapy perspectives - were enabled in this mahi, due to the work of Carolyn Kenny. Having developed an INDIGENOUS theory in music therapy, Carolyn Kenny emphasises the role of connectedness of each aspect and idea of sacred “space” and “place” within the music therapy session, (Kenny, (1989, 2006), Music and Life - In The Field of Play).  My own personal identity as a respectful PASIFIKA woman, and child migrant who learnt Te Reo Māori, history of Tāngata Whenua, Māoritanga, and kapa hāka on Whaiora Marāe, Otara South Auckland, 1970s - enabled the incorporation of the framework of the fale tele metaphor to represent the “personhood of the Client” and their relationships with aiga/family-whānau, medical teams/staff, community workers, as well as myself - in order to illustrate my findings. These showed that clients invariably somehow communicated and expressed a yearning for their home, had strong emotions of displacement away from home; seemed highly motivated to participate and “join in” musicking sessions due to the presence of their kin; or because they had a clear personal goal during sessions to reach a recovery stage that would facilitate their return as soon as possible to a spouse, parent, siblings, children, or to the space and place that represented “home.”  Data was collected from clinical notes, assessment reviews, client reports, reflective journal. Deductive secondary analysis was used for coding from which five key themes emerged as being important in the FWCMT, and are further described in the music therapy methods, strategies and activities in a clinical vignette.  Of the eight clients, the 167 music therapy sessions which I facilitated, only 43 sessions included the physical presence of family-whānau.  Findings are listed as:  (1) The spiritual, psychotherapeutic, physiological health and well-being of the client;  (2) The internal space – of the participant;  (3) Maintaining the dignity of all – participants, family-whānau;  (4) Boundaries: The collaborative external space – visiting family-whānau, the interdisciplinary teams and staff carers who became the ‘institutional family-whānau,’ or extended whānau of the client;  (5) The rhythmic foundation of the client – innate musical self, external structures, influences and rhythm found in whenua and cosmos which supports the rhythmical structures of the musical, cultural self.</p>

scholarly journals A theory upon origin of implicit musical language

2015 ◽  
Vol 3 (3) ◽  
Author(s):  
József P. Vas
Keyword(s):  
Music Therapy ◽  
Special Form ◽  
Ego Development ◽  
Sense Of Self ◽  
Human Being ◽  
Musical Language ◽  
Prenatal Environment ◽  
Parallel Processes ◽  
Musical Representations ◽  
Ego Functioning

The author suggests that the origin of musicality is implied in an implicit musical language every human being possesses in uterus due to a resonance and attunement with prenatal environment, mainly the mother. It is emphasized that ego-development and evolving implicit musical language can be regarded as parallel processes. To support this idea a lot of examples of musical representations are demonstrated by the author. Music is viewed as a tone of ego-functioning involving the musical representations of bodily and visceral senses, cross-modal perception, unity of sense of self, individual fate of ego, and tripolar and bipolar musical coping codes. Finally, a special form of music therapy is shown to illustrate how can implicit musical language be transformed into explicit language by virtue of participants’ spontaneity, creativity, and playfulness.

scholarly journals How was a family-whānau centred music therapy approach, demonstrated within a student music therapist’s clinical placement, at a rehabilitation clinic for adults with an acquired brain injury?

2021 ◽  
Author(s):  
◽  
Retts van Dam
Keyword(s):  
Music Therapy ◽  
Brain Injuries ◽  
Secondary Analysis ◽  
Well Being ◽  
Interdisciplinary Teams ◽  
Space And Place ◽  
Clinical Placement ◽  
Internal Space ◽  
Rehabilitation Centre ◽  
Therapy Approach

<p>Abstract  This project explores how the family-whānau centred music therapy approach was demonstrated, by a student music therapist on clinical placement, within a rehabilitation centre for adults with traumatic brain injuries. Parallel links between the Samoan fale tele metaphor of health and family-whānau centred approaches within music therapy perspectives - were enabled in this mahi, due to the work of Carolyn Kenny. Having developed an INDIGENOUS theory in music therapy, Carolyn Kenny emphasises the role of connectedness of each aspect and idea of sacred “space” and “place” within the music therapy session, (Kenny, (1989, 2006), Music and Life - In The Field of Play).  My own personal identity as a respectful PASIFIKA woman, and child migrant who learnt Te Reo Māori, history of Tāngata Whenua, Māoritanga, and kapa hāka on Whaiora Marāe, Otara South Auckland, 1970s - enabled the incorporation of the framework of the fale tele metaphor to represent the “personhood of the Client” and their relationships with aiga/family-whānau, medical teams/staff, community workers, as well as myself - in order to illustrate my findings. These showed that clients invariably somehow communicated and expressed a yearning for their home, had strong emotions of displacement away from home; seemed highly motivated to participate and “join in” musicking sessions due to the presence of their kin; or because they had a clear personal goal during sessions to reach a recovery stage that would facilitate their return as soon as possible to a spouse, parent, siblings, children, or to the space and place that represented “home.”  Data was collected from clinical notes, assessment reviews, client reports, reflective journal. Deductive secondary analysis was used for coding from which five key themes emerged as being important in the FWCMT, and are further described in the music therapy methods, strategies and activities in a clinical vignette.  Of the eight clients, the 167 music therapy sessions which I facilitated, only 43 sessions included the physical presence of family-whānau.  Findings are listed as:  (1) The spiritual, psychotherapeutic, physiological health and well-being of the client;  (2) The internal space – of the participant;  (3) Maintaining the dignity of all – participants, family-whānau;  (4) Boundaries: The collaborative external space – visiting family-whānau, the interdisciplinary teams and staff carers who became the ‘institutional family-whānau,’ or extended whānau of the client;  (5) The rhythmic foundation of the client – innate musical self, external structures, influences and rhythm found in whenua and cosmos which supports the rhythmical structures of the musical, cultural self.</p>

Supervision in Psychotherapy – A Relational Perspective

2021 ◽  
Vol 2021 (3) ◽  
pp. 89-96
Author(s):  
Andreea Rodica Coicici
Keyword(s):  
Supervisory Relationship ◽  
Parallel Processes ◽  
Relational Perspective ◽  
Supervisory Process

Supervision in psychotherapy can become a possibility to heal using the meeting, and at the same time offer support and reparation to the supervisory relationship. Supervision is interpersonal and dynamic, it involves discovery and co-creation of a relationship. But what is relational supervision, how do its components inter-connect and inter-relate? What framework is used? What are parallel processes and pseudo-parallel processes and how do these influence the relation. These are some of the questions answered in this analysis, along with other relational characteristics of the supervisory process.

The Evolution of Music Therapy

2015 ◽  
Vol 26 (4) ◽  
pp. 207-221
Author(s):  
Wolfgang Mastnak
Keyword(s):  
Music Therapy ◽  
Evidence Based Medicine ◽  
Wide Spectrum ◽  
Evidence Based ◽  
Modern Music ◽  
Guided Imagery And Music ◽  
Theoretical Perspectives ◽  
International Importance ◽  
Evolution Of Music ◽  
Based Medicine

Abstract. Five overlapping eras or stages can be distinguished in the evolution of music therapy. The first one refers to the historical roots and ethnological sources that have influenced modern meta-theoretical perspectives and practices. The next stage marks the heterogeneous origins of modern music therapy in the 20th century that mirror psychological positions and novel clinical ideas about the healing power of music. The subsequent heyday of music therapeutic models and schools of thought yielded an enormous variety of concepts and methods such as Nordoff–Robbins music therapy, Orff music therapy, analytic music therapy, regulatory music therapy, guided imagery and music, sound work, etc. As music therapy gained in international importance, clinical applications required research on its therapeutic efficacy. According to standards of evidence-based medicine and with regard to clearly defined diagnoses, research on music therapeutic practice was the core of the fourth stage of evolution. The current stage is characterized by the emerging epistemological dissatisfaction with the paradigmatic reductionism of evidence-based medicine and by the strong will to discover the true healing nature of music. This trend has given birth to a wide spectrum of interdisciplinary hermeneutics for novel foundations of music therapy. Epigenetics, neuroplasticity, regulatory and chronobiological sciences, quantum physical philosophies, universal harmonies, spiritual and religious views, and the cultural anthropological phenomenon of esthetics and creativity have become guiding principles. This article should not be regarded as a historical treatise but rather as an attempt to identify theoretical landmarks in the evolution of modern music therapy and to elucidate the evolution of its spirit.

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