| TABLE
OF CONTENTS |
ACKNOWLEDGEMENTS
FOREWORD
PREFACE
|
xi
xiii
xvii
|
| SECTION
I INTRODUCTION |
|
1
Research Focus and Method 3
The Nordoff-Robbins Clinical Archives 3
Evolution of the Research Focus 5
The Research Process 7
Notes on Literature 15
|
3
3
5
7
15
|
2
The First Sites: Devereux and the University of Pennsylvania
Origins
Getting Established in America |
17
17
21 |
| SECTION
II THE CHILDREN |
|
Devereux
3 Audrey Is Dancing a Song: Worth, Myth, and Singing in Self-Actualization
Audrey’s Therapy
The Significance of Audrey’s Growth Process 54
Postscript: In Audrey’s Words
|
27
28
54
58
|
4
Martha Can Sing a Song: Musical Skills and the
Development of the Self
Martha’s Music Therapy
Implications for Nordoff-Robbins Strategies And Interventions
Musical Skills, Fluidity, and Self-Development |
59
60
67
71 |
5
Where Is Terry? A Process Model for Nordoff-Robbins
Music Therapy
The Four-Stage Model of Therapy
Terry’s Process and the Middle Eastern Idiom |
81
82
103 |
6
Loren’s Listening to the Music: Overcoming the Fear
of Failure
Synopsis of Loren’s Therapy
The Relationship Dynamics in Loren’s Therapy
Clinical Strategies Used with Loren |
107
108
115
125 |
University
of Pennsylvania
7 How Do You Do, Walker? Restructuring the Self through Music
Walker’s Music Therapy
Implications of Walker’s Therapy |
131
132
143 |
8
Moving to Kansas
|
149 |
The
Institute of Logopedics
|
|
9
Good-bye, Indu: The Aesthetic Form of the Music Therapy
Session
Synopsis of Indu’s Therapy
The Session Form
Specialized Functions of Music
Conclusion |
155
157
160
177
186 |
10
Listen to Michael: From Sensory Stimulation toMusical
Experience
The Music Centeredness of the Nordoff-Robbins Approach
The Focus of Mike’s Therapy
Mike’s Therapy Sessions |
189
189
190
192 |
11
Anna is in the Music Room: Mutuality in the Therapy
Process
Anna’s Therapy as a Process of Synthesis
A Synopsis of Anna’s Therapy
Characteristics of Music Accompanying the Synthetic Stance |
205
206
209
212 |
| 12
Leaving the Institute and Beyond |
225 |
SECTION
III COMPARATIVE ANALYSIS
|
|
Introduction
|
229 |
13
Forms and Structures
Differentiating Between Form and Structure
Musical Structures and Their Clinical Significance Clinical-Aesthetic Forms
The Four-Stage Model and the Crucial Intervention
The Role of Form in Integrating Conceptions of
Music Therapy |
231
231
233
236
239
243 |
14
The Music
Music as the Agent of Change
The Use of Idioms, Styles, and Scales The objectivity of Music: Imaplications
for Clinical Practice
The Role and Importance of Personal Expression in Music
Establishing a Musical World
The Importance of Singing
Music for a Child (Client)
Paul Nordoff’s Musicianship: Implications for Training |
249
249
250
255
261
266
275
276
278 |
15
The Clinical Process: Work, the Will, and Creating
a Self
Work
The Will
Creating a Self
The Time Frame of Therapy |
283
283
287
295
297 |
16
The Therapeutic Relationship and the Context of Therapy
The Therapeutic Frame
The Relative Importnace of Relationship Dynamics
Relationship Dynamics in the Context of Nordoff-Robbins Theory
The Transpersonal Nature of Nordoff-Robbins Therapy
and Therapist Self-Examination |
299
301
303
308
314 |
17
Epilogue
|
|
References
Author Index
Subject Index
Clinical-Musical Excerpts |
321
325
327
331 |
