|A few other situations, associations, methods, which we could not put to any other chapters above, or which were found too complex to be able to put them under our groups:|
|The European Consortium for Arts Therapies Education’s website offers courses on arts therapy, publications on the subject, but what we would like to draw your attention is is their subpage: directory of programmes. It gives a short resumé of all its member countries’ arts therapy current leves, gives you a list of schools, trainings in that country.|
|Hangforrás, “Source of the Sound” Foundation:
they are a Hungarian foundation who do many things, among which the two most important things are:
*Integration: helping those who suffer from physical or mental issues, disabled people to arts therapy;
*Equal Rights: helping disadvantaged families with little children get better access to therapy and to cultural interactions.
|A rather interesting article we found on Denmark – supposedly one of the happiest nations on Earth – which says, that Danish kids between the ages of 6 and 16 are required to take empathy courses. Although this is not music, it is definitely social inclusion!|
|A tale of a visionary conductor who included everybody in his choir.
written by Côme Ferrand Cooper in 2015, project manager at ECA-EC
|Your best know-how on how to work with teenagers as a music therapist!
Katrina McFerran: Adolescents, Music and Music Therapy: Methods and Techniques for Clinicians, Educators and Students
When guided effectively, the relationship between adolescents and music can offer powerful opportunities for expression and release. This book provides music therapists with the complete ‘how to’ of working with teenage clients. Helpful and accessible, the book explains the methodology used in music therapy, a topic that has been considered only briefly until now. The author presents an empowering approach to practice, discussing how the therapist can be placed in a collaborative relationship with the individual or with the group. A range of strategies is explored, including song sharing, improvisation, song writing and various multi-media approaches. Some of the key challenges faced by music therapists working with adolescent clients are addressed, including the constantly changing repertoire and evolving musical tastes, and the author offers practical solutions for overcoming these. Contemporary models of Community Music Therapy are outlined in the second half of the book, and case vignettes illustrate how each of the methods can be applied in practice, and the outcomes that may be expected. The first of its kind, this comprehensive book is a must for all music therapists working with adolescent clients.
A basic read, if you plan to work as a music therapist on the Scandinavian Peninsula:
Brynjulf Stige: Culture-centered Music Therapy (2002)
An in-depth exploration of taking culture-inclusive perspectives for practice, theory, and research in music therapy. Part One outlines premises for the argument, examining basic concepts such as culture, humankind, meaning, “musicking,” and the nature-nurture debate.
|3 books on community music therapy:|
|Brynjulf Stige: Invitation to Community Music Therapy (2011)
Invitation to Community Music Therapy presents the main perspectives and principles of community music therapy as it is practiced around the world. A relatively recent development within the broader field of music therapy, community music therapy emphasizes human connectedness, health promotion, and social change. This textbook surveys the history, theory, and current practice of community music therapy to develop a comprehensive picture of the field. Along the way it takes full measure of the diverse and vibrant ways community music therapy is practiced around the globe. Including dozens of photographs and pedagogical tools such as chapter questions, textboxes, figures, key terms, and discussion topics, Invitation to Community Music Therapy is the ideal introduction to a growing area of music therapy.
Where Music Helps: Community Music Therapy in Action and Reflection (2010)
This book explores how people may use music in ways that are helpful for them, especially in relation to a sense of wellbeing, belonging and participation. The central premise for the study is that help is not a decontextualized effect that music produces. The book contributes to the current discourse on music, culture and society and it is developed in dialogue with related areas of study, such as music sociology, ethnomusicology, community psychology and health promotion. Where Music Helps describes the emerging movement that has been labelled Community Music Therapy, and it presents ethnographically informed case studies of eight music projects (localized in England, Israel, Norway, and South Africa). The various chapters of the book portray “music’s help” in action within a broad range of contexts; with individuals, groups and communities – all of whom have been challenged by illness or disability, social and cultural disadvantage or injustice. Music and musicking has helped these people find their voice (literally and metaphorically); to be welcomed and to welcome, to be accepted and to accept, to be together in different and better ways, to project alternative messages about themselves or their community and to connect with others beyond their immediate environment. The overriding theme that is explored is how music comes to afford things in concert with its environments, which may suggest a way of accounting for the role of music in music therapy without reducing music to a secondary role in relation to the “therapeutic,” that is, being “just” a symbol of psychological states, a stimulus, or a text reflecting socio-cultural content.
Mercedes Pavlicevic, Gary Ansdell: Community Music Therapy (2004)
Music therapists from around the world working in conventional and unconventional settings have offered their contributions to this exciting new book, presenting spirited discussion and practical examples of the ways music therapy can reflect and encourage social change. From working with traumatized refugees in Berlin, care-workers and HIV/AIDS orphans in South Africa, to adults with neurological disabilities in south-east England and children in paediatric hospitals in Norway, the contributors present their global perspectives on finding new ways forward in music therapy.
Reflecting on traditional approaches in addition to these newer practices, the writers offer fresh perceptions on their identity and role as music therapists, their assumptions and attitudes about how music, people and context interact, the sites and boundaries to their work, and the new possibilities for music therapy in the 21st century. As the first book on the emerging area of Community Music Therapy, this book should be an essential and exciting read for music therapists, specialists and community musicians.
|Emőke Bagdy: The Development of Talent (a book in Hungarian)
The book goes deeper into what a talented young person is, then just talking about fame, success and the easy nurturing of a healthy talented person’s development. It looks at the shadow behind the light, the dark side, mental problems.
|A page for Hungarian developers and special education teachers|
|A non-formal education tool aimed at social inclusion:
a music therapy observation method for parent-child interaction
|Another thought on non-educational tools:
Do not forget the usually healthy parents of disadvantaged, disabled children, people!
Even if you don’t actually use music therapy on the parents together with the kid, it is sometimes necessary to help opening up the family’s mind to the obvious – which they don’t want to accept, or which is hard for them to accept – that their child will never get better, or will never walk again, never be ‘normal’ (by our standards), etc. – pls see Pető Institute in the “Mentally challenged” chapter
|Talented young people who become “disadvantaged” due to:
– their parents’ ’ignorance’, e.g. children of an all-doctor or all-lawyer family:„You have to follow the family traditions!”
“A musician doesn’t earn enough money!”
„Artists never make enough money for a living!”)Thank God we have great opposers, like Hector Berlioz, the French Romantic composer, who was expected to become a doctor, but left us with the Symphonie fantastique, or Humperdinck, the 19th century German composer, composer of the opera Hansel and Gretel, who was expected by his parents to become an architect, or just take Billy Elliot, who was not allowed to become a ballet dancer, as it is not a very manly thing to do…
|– Music for those who lost their mums and live in a half-family:|
|the Cursillos method is basically a 3-day retreat for Christian (mostly Catholic) women and men separately, during which three days the participants learn about themselves, they make friends, try to open up and learn how to be a good part of our society without aggression and hatred. Participants like the Romas are taught the importance of education, of community life, of cultural interaction, so when they go back to society on the ‘fourth day’ they could also be building blocks like any other of us, an equal member or society. With this method communities are cleared of hatred, aggression and racism.|
|Not music, but social inclusion through arts: Baltazár Színház (HU). The only theater that only employs mentally challenged actors, most of them with Down Syndrome.|