Receptive Methods in Music Therapy : Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students

Foreword 11(2) Professor Cheryl Dileo Introduction 13(2) Evidence-based practice in receptive music therapy 15(1) Receptive methods in music therapy 15(1) Definitions of receptive music therapy 16(1) Overview of the book 17(2) Ethical guidelines 19(1) Engaging with Clients Verbally and Musically 20(25) Beliefs and values that impact on interaction with patients 20(5) Verbal processing of client's experiences in music therapy 25(16) Empathic improvisation for non-verbal clients 41(3) Conclusion 44(1) Selecting Music for Receptive Methods in Music Therapy 45(16) Differences between music for relaxation and music for stimulating imagery 45(2) The characteristics of music for receptive music therapy 47(6) Other considerations when selecting music for receptive methods 53(2) Assessing a music selection for suitability 55(1) Choice of music for particular patient/client groups and ages 56(2) Guidelines for using recorded music in the hospital environment 58(2) Conclusion 60(1) Relaxation and Receptive Methods for Children and Adolescents 61(28) Introduction 61(1) Receptive music therapy for hospitalised children and adolescents: setting the scene 62(2) Receptive music therapy for hospitalised young children 64(4) Receptive music therapy for hospitalised older children 68(5) Relaxation for children with sleep difficulties in a psychiatric setting 73(4) Receptive music therapy for children in palliative care 77(2) Receptive music therapy for young hospitalised adolescent patients 79(2) Receptive music therapy in the classroom 81(4) Relaxation for older adolescents 85(4) Receptive Methods and Relaxation for Adults 89(38) Introduction 89(1) Theoretical framework 89(1) Establishing an environment that is conductive to relaxation with music 90(2) Therapeutic skills for facilitating a relaxed state in the client 92(2) Music selection 94(1) Relaxation inductions 95(1) Short relaxation 95(2) Structured/count-down relaxation induction 97(1) Autogenic-type relaxation 98(2) Colour induction (with colour) 100(2) `Light' relaxation inductions 102(2) Progressive muscle relaxation (PMR) (based on Jacobson 1938) 104(1) Clinical Examples 105(1) Hospitalised adult clients 105(3) Relaxation for older adults 108(5) Relaxation in palliative care: a group context 113(2) Adaptation of relaxation in palliative care: case example 115(2) Relaxation and music for patients in cardiac rehabilitation 117(5) Conclusion 122(1) Contraindications 123(1) Music selections 123(4) Music, Visualisations and Imagery 127(29) Why use visualisations/imagery in conjunction with music? 127(1) Visualisations and directed music imaging 128(1) Assessing a client's suitability for music and imagery methods 128(1) Visualisations 129(1) Bringing the visualisation to an end 130(1) Directed music imaging 131(1) Managing a negative experience to an imagery script 132(2) Unguided music imaging (UMI) and group music and imagery (GrpMI) 133(1) Types of imagery experiences 134(2) Assessing a client's suitability for methods that involve self-generated imagery 136(1) Unguided music imaging 136(3) Group music and imagery 139(3) Music selections for unguided music imaging and group music and imagery 142(1) Applications of group music and imagery 143(8) Guided music imaging (GMI) 148(3) Interventions for short pieces of music 151(1) Applications of GMI 152(2) Unguided and guided music and imagery in medicine 154(2) Conclusion 156(1) Song Lyric Discussion, Reminiscence and Life Review 156(23) Introduction and definitions 157(1) Song lyric discussion (SLD) 158(12) Who can benefit from song lyric discussion? 170(6) Song reminiscence in aged care settings 176(1) Music life review 176(2) Conclusion 178(1) Note 178(1) Perceptual Listening and Musical Appreciation 179(16) Introduction 179(1) Principles in evaluating the value of recorded music for clients 180(1) Suitability and cautions in selecting and playing music 180(1) Protocol for the use of recorded music for listening in individual and group work 181(4) Influencing factors 185(1) Recorded music as part of the music therapy programme for people with intellectual disability 186(1) Choice of music: a clinical/research example 187(6) Summary 193(1) Notes 194(1) Receptive Music Therapy and Art Media 195(19) Music collage 195(13) Music therapy and collage with bereaved children 208(3) Music, drawing and narrative (MDN) 211(2) Conclusion 213(1) Vibroacoustic Therapy in Receptive Music Therapy 214(22) Introduction 214(1) Basic theory 214(3) Clinical applications 217(3) Method of intervention and clinical procedures 220(5) Frequency and duration of sessions 225(1) Choice of music used in vibroacoustic treatment 226(1) Contraindications 227(2) Clinical applications of vibroacoustic therapy 229(2) Conclusion 231(1) Classical music selections for vibroacoustic therapy: discography 232(4) Music and Movement 236(22) Introduction 236(1) Clients with physical disabilities 236(6) Music and movement protocol 242(12) Conclusion 254(4) References 258(6) The Authors 264(2) Subject Index 266(5) Author Index 271