Long overdue, this book is the first to explore feminist perspectives in music therapy. The introduction provides an overview of feminism in terms of the history and major approaches of feminism and an overview of feminism and music therapy.
The chapters in Part One have sociological threads that tie them together: the first applies ideas of sociology to the field of music therapy and proposes four principles for a feminist music therapy; the second explores the potential of community music therapy, practiced within a feminist worldview, to free itself from the oppressive potential of therapy, society, and the self, by working with people within the context of their gendered social, cultural, and political environments; the third describes ways in which an ecological worldview can inform all of our actions as ethical human beings; the fourth describes how the ancient Goddess tradition can inform practices of music psychotherapy in general and BMGIM in particular; the fifth describes the centrality of the concept of Han in the lives of Korean women because of their oppressive life circumstances and explores the suitability of music as a form of expression in therapy for Korean women; and the sixth explores the possibilities of feminist music therapy in Taiwan by examining the role of music in healing in the indigenous, Chinese, and western cultural traditions that make up Taiwanese culture as a whole.
The chapters in Part Two examine clinical work from a feminist perspective. The clinical work explored includes music therapy with a West Indian woman who was recovering from a cerebrovascular accident; teenage girls who have been physically and sexually abused; women who have been emotionally, physically, and/or sexually abused; Israeli women who have suffered trauma in their lives; and women suffering from chronic pain.
The chapters in Part Three critically reflect on significant aspects of music therapy: music therapy discourse in terms of the use of mother concepts in music therapy literature and how these contribute to the conservation of traditional expectations of gender roles; song selection and the ways in which both the overt and covert messages in songs can contribute to the ways clients view themselves and/or their attitudes about and behaviors toward women; the branding of separate approaches to music therapy as a result of the competitiveness that grew out of the rise of capitalism; and, issues of representation of women in music, in healthcare, and in music therapy.
Finally, the chapters in Part Four focus on specific areas of training in music therapy from a feminist perspective including pedagogy, supervision, assessment, research, and ethics. 2006 (2006, 500 pages).
|Table of Contents|
|Introduction; Embracing Feminism: An Overview: Susan Hadley||1|
|Part One: Interlude I|
|Chapter 1 A Feminist Sociology of Professional Issues in Music Therapy: Jennifer Adrienne||41|
|Chapter 2 Birthing Feminist Community Music Therapy: The Progeny of Community Music Therapy Practice and Feminist Therapy Theory: Katrina McFerran and Lucy OGrady||63|
|Chapter 3 The Earth is Our Mother: Reflections on the Ecology of Music Therapy from a Native Perspective: Carolyn Bereznak Kenny||81|
|Chapter 4 Descent to the Goddess: A Spiritual and Psychological Journey to the Feminine: Frances Smith Goldberg||97|
|Chapter 5 Feminism and Music Therapy in Korea: Seung-A Kim||127|
|Chapter 6 Women, Power, Music Therapy: A Feminist Perspective on Music Therapy in Taiwan: ChihChen Sophia Lee||157|
|Part Two: Interlude II|
|Chapter 7 Power and Voice in the Institutional Setting:A Journey toward Activating a Feminist Music Therapy Approach: Theresa Merrill||187|
|Chapter 8 Feminist Music Therapy with Abused Teen Girls: Colleen Purdon||205|
|Chapter 9 Feminist Music Therapy: Transforming Theory, Transforming Lives: Sandra L. Curtis||227|
|Chapter 10 Finding Voice: Feminist Music Therapy and Research with Women Survivors of Domestic Violence: Elizabeth York||245|
|Chapter 11 Awaking the Wild Woman: Feminist Music Therapy with Israeli Women who Suffered Trauma in their Lives: Dorit Amir||267|
|Chapter 12 The Voices of Women Suffering from Pain: Joke Bradt||291|
|Part Three: Interlude III|
|Chapter 13 Gender Politics in Music Therapy Discourse: Randi Rolvsjord||311|
|Chapter 14 Critical Reflections on Song Selection for Womens Empowerment in Music Therapy: Laurie Jones||329|
|Chapter 15 What Are We Doing to Ourselves? The Branding of Music Therapy in Academia: Elaine Streeter||355|
|Chapter 16 A Reflection on the Role of Informants from Feminist Theory in the Field of Music Therapy: Jane Edwards||367|
|Part Four: Interlude IV|
|Chapter 17 Developing a Feminist Pedagogical Approach in Music Therapy: Susan Hadley||393|
|Chapter 18 Feminist Music Therapy Supervision: Michele Forinash||415|
|Chapter 19 Viewing Music Therapy Assessment through a Feminist Therapy Lens: Sue Shuttleworth||429|
|Chapter 20 Feminist Music Therapy Research: Barbara L. Wheeler||451|
|Chapter 21 Feminist Therapy Ethics: Implications for Music Therapy: Cheryl Dileo||475|
Feminist Perspectives in Music Therapy
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