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XII Congreso Mundial de Musicoterapia

Del 22 al 26 de Julio de 2008


RESMENES / ABSTRACTS

Organizado por:
Asociacin Argentina de Musicoterapia Federacin Mundial de Musicoterapia Universidad de Buenos Aires Facultad de Psicologa de la Universidad de Buenos Aires, Carrera de Musicoterapia

Librera AKADIA Editorial


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by Librera AKADIA Editorial, 2008 Distribuido y comercializado por: Librera AKADIA Editorial Paraguay 2078 (1121) - Buenos Aires Tel. 4961-8614 / 4964-2230 E-mail: akadia@arnet.com.ar www.editorialakadia.com.ar Hecho el depsito que marca la ley 11.723 Impreso en Argentina - Printed in Argentina

AUTORIDADES

Comisin organizadora * Gabriela Wagner * Alicia Topelberg * Horacio Crdenas * Mara Fernanda Rodrguez * Gabriel Federico Comisin ejecutiva * Presidencia: Gabriela Wagner * Vicepresidencia: Mara Celia Prez * Secretara General: Karina Daniela Ferrari * Prosecretara: Araceli Onorio - Ana Mercedes Aradas Tesorera * Mauricio Ruiz Protesorera * Gabriel Federico Comisin de prensa y difusin * Virginia Tosto * Julieta Rodrguez * Romina Bernardini * Cecilia Di Prinzio * Oscar Fernndez * Mercedez Ruiz Comisin cientfica * Presidencia: Amelia Ferraggina * Vicepresidencia: Cristina Zamani
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Comisin nacional * Diego Schapira * Ariel Zimbaldo * Patricia Pellizzari * Jorge Montaldo Comisin internacional * Suzanne Hanser * Petra Kern * Cheryl Dileo * Mnika Ncker-Ribaupierre * David Aldridge * Tony Wigram * Anna Fekete * Jrg Fachner * Patricia Sabbatella * Melissa Mercadal * Mariano Bets de Toro * Ferdinando Suvini * Bruno Foti * Magill, Lucanne * Cochavit Elefant * Lia Rejane Mendes Barcellos * Mayra Hugo * Nobuko Saji * Gro Trondalen Comisin de relaciones interiores * Gustavo Gauna * Claudia Mendoza * Julieta Ontiveros * Mara Cristina Olmos * Maria Elena Lopez Vinader * Alfonsina Basutto * Marcia Bustos * Mara Virginia Cicchetti * Judith Martnez * Selva Ayelen Reynoso * Ma. Beln Saborit
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Welcome!Bienvenidos! On behalf of the World Federation of Music Therapy (WFMT) and the Organization and the Executive Committees of the XIIth. World Congress of Music Therapy, I would like to wish you an unforgettable stay. Music, culture, health and sound for all of you! Lets make a toast for music therapy in a world that needs us! Thank you for coming. Thanks to the authorities of the prestigious Buenos Aires University (UBA), School of Psychology, Music Therapy Degree, and the School of Law and its people for their contribution. Thanks to them, to their assistants, colleagues and students who envisioned since the beginning of this project a chance to democratize knowledge within the framework of an international bilingual Spanish-English congress. Without their invaluable support this conference, held in one of the outstanding buildings of our city, would have not taken place. Thanks to the Argentine Music Therapy Association. Founded in 1966, one of its objectives is to hold events to promote information about music therapy. The support of its Directive Committee and members was decisive for this project. Thanks to all those who donated their time and effort. Thanks to the Council of the World Federation of Music Therapy and to its members for the confidence placed in us and for their collaboration in promoting this meeting, where representatives from 35 countries share their experience and knowledge. Thanks for the International Scientific Committees work. This exceptional multicultural group of people have been working to achieve the high level scientific program that we share herein. Thanks for their time and dedication. Great shared and personal dreams became true throughout the time of preparation of this world congress. For the first time in the history of our world congresses we can offer the book records of the presentations during the same conference. For the first time we have representation of publishers from other countries. Also for the first time, we took the financial risk of considering different registration fees for countries with lower annual per capita incomme in order to facilitate the access to knowledge of music therapy to as many people as possible. The World Federation of Music Therapy Council, the Association of Music Therapy Argentina and the Buenos Aires University worked together for it. Thanks also to those who accompanied us with their sponsor and financial support. And thanks to those who prepared our artistic programs. Finally, my personal experience as exchange student was the inspiration for the Music Therapy Hosting Program which became true thanks to the efficient dedication of colleagues and students. Thanks for making it possible. Beacuse of the lack of space available I am not able to include their names. Please read carefully our program in order to identify each of them. After 34 years of the 1st. World Congress of Music Therapy held in Paris, 32 years from the 2nd one, held here in Buenos Aires, and after 25 years from the first world congress organized by the WFMT in Spain I would like to thank everyone who shared our enthusiasm, working for a project that goes beyond cultural boudaries. Hoping to collaborate for a better world where people can interact harmoniously with others and with our habitat I welcome you. Bienvenidos!! Gabriela Wagner Chair World Federation of Music Therapy XIIth. World Congress of Music Therapy
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Bienvenidos! Welcome! En nombre de la Federacin Mundial de Musicoterapia (WFMT) y de los Comits Organizador y Ejecutivo de este XII Congreso Mundial de Musicoterapia, quisiera desearles una estada inolvidable. Msica, cultura, sonido y salud, para todos! Brindemos por la musicoterapia en un mundo que nos necesita! Gracias a ustedes por estar aqu. Gracias a las autoridades de la prestigiosa Universidad de Buenos Aires (UBA), Facultad de Psicologa, Carrera de Musicoterapia, y Facultad de Derecho y su gente por su contribucin. Gracias a los directivos, administrativos, colegas y estudiantes que vislumbraron desde los comienzos de este proyecto, una posibilidad de democratizar conocimientos en el marco de un congreso internacional bilinge, Espaol-Ingls. Sin su invalorable apoyo, este congreso no podra realizarse, menos an siendo la sede del congreso mundial uno de los edificios ms destacados de nuestra ciudad. Gracias a la Asociacin Argentina de Musicoterapia. Fundada en 1966, uno de sus objetivos es la realizacin de eventos que promuevan informacin acerca de la musicoterapia. Fue decisivo el apoyo de su Comisin Directiva y de sus asociados. Gracias para todos aquellos que donaron su tiempo y esfuerzo. Gracias a los miembros del Consejo de la Federacin Mundial de Musicoterapia y a todos sus miembros asociados, por la confianza depositada en nosotros y por difundir este encuentro en donde representantes de 35 pases compartirn su experiencia y conocimientos. Gracias por el trabajo del Comit Cientfico Internacional. Este grupo de personas excepcionales han colaborado desde diferentes lugares para poder ofrecerles un congreso con un alto nivel de programa cientfico. Gracias por el tiempo y la dedicacin. Grandes sueos compartidos y personales se hicieron realidad a lo largo de este tiempo de preparacin de este congreso mundial. Por primera vez en la historia de nuestros congresos mundiales podemos ofrecer el libro de actas con los trabajos presentados durante la misma conferencia. Por primera vez tendremos contacto directo con editoriales de otros pases. Tambin por primera vez, nos arriesgamos a tener en cuenta las diferencias de poder adquisitivo de los pases en desarrollo de menor ingreso anual ofreciendo inscripciones diferenciales. La Federacin Mundial de Musicoterapia, la Asociacin Argentina de Musicoterapia y la Universidad de Buenos Aires, han trabajado juntos para permitir el acceso al conocimiento de la musicoterapia a la mayor cantidad de personas posibles. Gracias a los que nos acompaaron con sus auspicios y apoyo econmico. Y, gracias a quienes prepararon nuestros programas artsticos. Finalmente, mi experiencia personal de intercambio estudiantil fue la inspiracin para el Programa de Musicoterapeutas Anfitriones que fue organizado con dedicacin y eficiencia de colegas y estudiantes. Gracias por hacerlo posible. Claro est que el espacio a mi disposicin no me permite incluir sus nombres pero los invito a leer con cuidado nuestro programa para identificar a cada uno de ellos. A 34 aos del 1er. Congreso Mundial de Musicoterapia realizado en Pars, a 32 del 2do realizado aqu en Buenos Aires, y a 25 aos del primer congreso mundial organizado por la Federacin Mundial de Musicoterapia en Espaa, quiero dar gracias a todos los que aunaron su entusiasmo por un congreso que trascienda culturas, para focalizar nuestra mirada en los otros que necesitan de nuestra profesin. Con la esperanza de colaborar por un mundo mejor en donde podamos interactuar armoniosamente entre nosotros y con nuestro hbitat, les doy la bienvenida. Welcome! Gabriela Wagner Presidente Federacin Mundial de Musicoterapia XII Congreso Mundial de Musicoterapia
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PRESENTATION
In brief words, we give today a warm welcome to all the colleagues from inside and outside the country converge here convened by the desire to participate and contribute to this XIInd World Congress of Music Therapy. We sincerely thank the Buenos Aires University, by opening gates of the Law Faculty, one of its most beautiful venues. A special recognition to the co-organizers of this Congress: Music Therapy Career owned by The Psicology Faculty, Argentina partneship of Music Therapy and to the World Federation of Music Therapy. Thank you indeed. The public universities and the Professionals Associations are formed instead of building our identity and responsibilities as music therapist. The joint work of the UBA, ASAM and the WFMT both in organizing and in scientific terms, are a sign of plurality. Unification does not mean homogenizing, and the differences have enriched us. A Congress so high level, is achieved only when the wills joined after the joint objective. This event far exceeds our expectations: 1200 registers, 533 papers in varius formats, attendees from 35 countries, 18 simultaneously room-meetings during 5 consecutive days. As for the scientific quality of the presentations, we are confident that also surprised us with news of the first level. We are been visiting with colleagues and recognized broad experience in the various applications of music therapy, and also reserve a place for students and young professionals who will show their developments. A commitment by internal discipline grows with the theory, practice, research and joint effort, with the opening of new fields and dialogue among colleagues. It strengthens by external recognition, through exchanges with other professionals, to thus move into the social imaginary The desire today is to open a space in these halls listening and respect that promote learning. We invite you to join our voices in the polyphony more fruitful to continue to resonate beyond this XIInd World Congress of Music Therapy, which begins here ... Thank you very much. Lic. Alicia Topelberg Coordinadora Acadmica de Musicoterapia Facultad de Psicologa Universidad de Buenos Aires Presidente ASAM

PRESENTACION
Breves palabras para darles hoy nuestra ms clida bienvenida a todos los colegas que, desde el interior y el exterior del pas, confluyen aqu, convocados por el deseo de participar y aportar a este XII Congreso Mundial de Musicoterapia. Agradecemos sinceramente a la Universidad de Buenos Aires, por abrirnos las puertas de la Facultad de Derecho, una de sus ms hermosas sedes. Un reconocimiento especial a los co-organizadores del Congreso: la Carrera y Lic de Musicoterapia , perteneciente a la Facultad de Psicologa de la Universidad de Buenos Aires, la Asociacin Argentina de Musicoterapia y la Federacin Mundial de Musicoterapia. Gracias. La Universidad Pblica y las Asociaciones Profesionales se constituyen en lugar de construccin de nuestra identidad e incumbencias como musicoterapeutas. El trabajo conjunto de la UBA, ASAM y la WFMT tanto en la organizacin como en el plano cientfico, son una muestra de pluralidad. Unificar no significa homogeneizar, y las diferencias nos han enriquecido. Un Congreso de tan alto nivel, slo se logra cuando las voluntades se suman tras el objetivo conjunto. Este evento supera ampliamente nuestras expectativas: 1200 inscriptos, 533 ponencias en sus diferentes formatos, asistentes de 35 pases, 18 salas simultneas durante cinco das. En cuanto a la calidad cientfica de las presentaciones, estamos seguros que tambin nos sorprendern con novedades de primer nivel. Nos visitan colegas con amplia y reconocida trayectoria en las diversas aplicaciones de la musicoterapia, y reservamos tambin un lugar para los estudiantes y jvenes profesionales que nos mostrarn sus desarrollos. Una disciplina crece por compromiso interno con la teora, con la praxis, con la investigacin y el esfuerzo conjunto, con la apertura de nuevos campos y el dilogo entre colegas. Se afianza por reconocimiento externo, a travs del intercambio con otros profesionales, para de esta manera, instalarse en el imaginario social. El deseo hoy es abrir en estas salas un espacio de escucha y respeto que favorezcan el aprendizaje. Los invitamos a unir nuestras voces en la ms fecunda polifona para que sigan resonando ms all de este XII Congreso Mundial de Musicoterapia, que aqu comienza...

Muchas gracias. Lic. Alicia Topelberg Coordinadora Acadmica Musicoterapia Facultad de Psicologa Universidad de Buenos Aires Presidente ASAM

Carta de Bienvenida. Presidente y Vice-Presidente del Comit Cientfico.


Estimados colegas de todo el Mundo: Deseamos darles la bienvenida al XII Congreso Mundial de Musicoterapia con la satisfaccin de haber realizado una etapa ms en la historia de nuestra disciplina. Queremos compartir con todos Uds. la alegra de encontrarnos con colegas de todo el mundo, intercambiar ideas, compartir experiencias, encontrar nuevos rumbos metodolgicos y conocer las caractersticas de las prcticas en los distintos pases para poder optimizar la calidad vida de las personas con quienes trabajamos. En la actualidad los equipos de salud no pueden ser concebidos sino a travs de la mirada interdisciplinaria. Creemos que el aporte de los puntos de vista y las concepciones de la musicoterapia que se actualizarn durante los das del Congreso sern fundamentales para el objetivo final de nuestra tarea: reestablecer el equilibrio biopsicosocial de los individuos inmersos en su cultura. Los 23 miembros del Comit Cientfico Internacional colaboraron con seriedad en la tarea de evaluacin, revisando los trabajos presentados, que han sido ms de 500, procedentes de 35 pases del mundo. A ellos nuestro agradecimiento y nuestro clido abrazo. Sin duda, los miembros del comit cientfico han experimentado la satisfaccin del deber cumplido con honestidad e idoneidad profesional. Los integrantes del comit cientfico local hemos preparado un programa con trabajos, mesas redondas, simposios, talleres, sesiones de psters, y sesiones plenarias que nos ofrecer mltiples propuestas, las cuales ejemplifican los cuestionamientos y orientaciones de la prctica contempornea de la musicoterapia. Confiamos y aspiramos a que los participantes de este Congreso, se nutran despus de estos 5 das con alguna mirada nueva, algn recurso impensado, alguna idea original que despierte sus deseos de investigacin adems de la comprobacin de estar en el buen camino como profesional de la Musicoterapia. A todos... bienvenidos a Buenos Aires y a la Argentina!. A todos....gracias por compartir sus conocimientos y experiencias!.

Amelia Ferraggina

Cristina Zamani

Carta de Bienvenida. Presidente y Vice-Presidente del Comit Cientfico. Estimados colegas de todo el Mundo: Deseamos darles la bienvenida al XII Congreso Mundial de Musicoterapia con la satisfaccin de haber realizado una etapa ms en la historia de nuestra disciplina. Queremos compartir con todos Uds. la alegra de encontrarnos con colegas de todo el mundo, intercambiar ideas, compartir experiencias, encontrar nuevos rumbos metodolgicos y conocer las caractersticas de las prcticas en los distintos pases para poder optimizar la calidad vida de las personas con quienes trabajamos. En la actualidad los equipos de salud no pueden ser concebidos sino a travs de la mirada interdisciplinaria. Creemos que el aporte de los puntos de vista y las concepciones de la musicoterapia que se actualizarn durante los das del Congreso sern fundamentales para el objetivo final de nuestra tarea: reestablecer el equilibrio biopsicosocial de los individuos inmersos en su cultura. Los 23 miembros del Comit Cientfico Internacional colaboraron con seriedad en la tarea de evaluacin, revisando los trabajos presentados, que han sido ms de 500, procedentes de 35 pases del mundo. A ellos nuestro agradecimiento y nuestro clido abrazo. Sin duda, los miembros del comit cientfico han experimentado la satisfaccin del deber cumplido con honestidad e idoneidad profesional. Los integrantes del comit cientfico local hemos preparado un programa con trabajos, mesas redondas, simposios, talleres, sesiones de psters, y sesiones plenarias que nos ofrecer mltiples propuestas, las cuales ejemplifican los cuestionamientos y orientaciones de la prctica contempornea de la musicoterapia. Confiamos y aspiramos a que los participantes de este Congreso, se nutran despus de estos 5 das con alguna mirada nueva, algn recurso impensado, alguna idea original que despierte sus deseos de investigacin adems de la comprobacin de estar en el buen camino como profesional de la Musicoterapia. A todos... bienvenidos a Buenos Aires y a la Argentina!. A todos....gracias por compartir sus conocimientos y experiencias!.

Amelia Ferraggina

Cristina Zamani

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The Color of Us: Music Therapy for Young Children Around the World
Dr. Petra Kern, MT-BVM, MT-BC
2. ABSTRACT In this panel, experienced music therapists from South America, North America, Europe, Asia, and Australia will present the current state of practice and research with young children in their part of the world. Learn about cultural values, specific approaches and common application of music therapy with children and families. 3. DESCRIPTION Music therapy has a long tradition in providing services to young children and their families. However, each country and continent has different ways of conducting music therapy, depending on federal regulations, prominent theories, and/or cultural values. In this session, attendees have the opportunity to receive a global perspective of music therapy with young children and their families. This panel will feature music therapy with young children and their families around the world. Internationally acclaimed music therapists of each continent (South America, North America, Europe, Asia, and Australia) with a wealth of clinical and research experience, will present the current status of music therapy with young children in their part of the world. Attendees will learn about demographics, specific settings and applications as well as service delivery models in music therapy of each continent. Background information related to federal regulations, theories and/or cultural influences will be discussed. Panelists will introduce common music therapy approaches applied in their part of the world and give an example from their clinical practice. An overview of prominent research conducted in early childhood will be presented from each continent. The panelists will include multimedia and also engage attendees in a children song/musical activity pertinent of their country. In a discussion followed, the panelists will explore the following questions: 1. 1. What would you like to see happen in the future? 2. 2. How can the international music therapy community learn from each other? 3. 3. How can we increase awareness of the benefits of music therapy for children in this part of the world and/or internationally? Attendees are invited to join in the discussion and will receive a summary of the panelists presentation. 5. OFFICIAL LANGUAGE The language of this panel will be English. 2 G. AUDIOVISUAL NEEDS VCR/DVD Monitor, Audio equipment and LCD Projector for PowerPoint Presentation. Musical instruments will also be needed! H. PRESENTER NAME(S) AND AFFILIATION(S) Dr. Petra Kern, Dipl, Sozpaed., MT-BVM, MT-BC WFMT Secretary/Treasurer, Santa Barbara, California. Renato Tocantins Sampaio, Master in Communication and Semiotics, BMus, MT Universidade de Ribeiro Preto, Brazil Dr. Simon Gilbertson, Dip. M.Th. (NR Lond), Dipl. M.T. (Witten), RMT Nordoff-Robbins Center, Germany Hye Won Chung, MA, MT Chongshin University, Seoul, Korea Anja Tait, RMT Charles Darwin University, Australia I. CONTACT INFORMATION Dr. Petra Kern, MT-BVM, MT-BC 618 De La Vista Avenue Santa Barbara, CA 93103, USA Email: PetraKern@prodigy.net J. MINI-BIOGRAPHY Dr. Petra Kern is the secretary/treasurer of the WFMT. Her work focuses on early childhood, inclusion, and autism. She is the Editor of AMTAs EC Newsletter and coleads the EC Network. Renato Tocantins Sampaio is head of the undergraduate Program and Music Therapy Clinic at Universidade de Ribeiro Preto, Brazil. He worked with children with disabilities in a variety of settings and has published books and article on Music Therapy and Music Education in 11 Brazil and Argentina. 3

Dr. Simon Gilbertson is a music therapist and researcher and has worked with children with disabilities and illness since 1993. His research interests focus on families who have experienced trauma. Hye Won Chung is a PhD candidate at the Sookmyung Women's University, Seoul Korea. She is an instructor and coordinates the Music Plus Program for children at the Chonshin University. Anja Tait, RMT is a clinician, educator and researcher. She was a keynote speaker for the 11th World Congress of Music Therapy. Anja is project leader for ArtStories, an arts-based approach to community engagement and capacity building in Australia.

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PHYSIOLOGIC FOUNDATIONS FOR MUSIC THERAPY


Dorita S. Berger, MA MT-BC, LCAT
ABSTRACT: Yes! Music affects human behavior. But, why? Much thought is given to what music does in influencing human behavior. The why, and therefore, the how music does it is often omitted from discussion, practice and research. Dorita S. Berger presents a new paradigm suggesting how the aspects and elements of music parallel and interact with those of human physiologic function, which can result in systemic changes. The parallels between specific music elements with those of physiology, are the ingredients that contribute to musics ability to treat various diagnoses. All populations and diagnoses are impacted by the elements of music. Careful targeting of music interventions to address precise physiologic goals, such as in Autism and other diagnoses, can reach beyond the treatment of symptoms, to the treatment of causes of those very symptoms that medicine seeks to alter. Learn about functional adaptation; homeostasis; The Fear Spiral and Sensory Misinterpretation; Entrainment; Audition; and how the application of this information can influence music therapy treatment protocol. FUNDAMENTOS FISIOLOGICOS DE LA MUSICOTERAPIA ABSTRACTO: Si! La msica tiene efectos sobre la conducta humana. Pero, como? Mucho se piensa sobre que tipo de msica influye en la conducta humana. El porque y tambin el como la msica lo hace esta generalmente fuera de discusin, practica e investigacin. Dorita S. Berger presenta un nuevo paradigma acerca de como los aspectos y los elementos de la msica tienen paralelismo e interaccin con la funcin fisiolgica humana, los cuales pueden resultar en cambios sistemticos. El paralelismo entre elementos especficos musicales con los de la fisiologa humana son los ingredientes que contribuyen en la habilidad musical para tratar diversos diagnsticos. Todas las poblaciones y diagnsticos se ven impactadas por los elementos de la msica. Planeando (orientando) cuidadosamente las intervenciones musicales para lograr objetivos especficos en lo fisiolgico, por ejemplo en personas diagnosticadas con Autismo u otros diagnsticos, se puede llegar mas all del tratamiento de los sntomas al tratamiento de la causa de aquellos sntomas que la medicina busca cambiar. Aprender sobre funcin adaptativa; homeostasis; El espiral del Miedo (Fear Spiral) y la falla en la Interpretacin Sensorial; Resonancia (Entrainmen); Audicin; y como la aplicacin de esta informacin puede tener influencia en los protocolos de aplicacin de Musicoterapia

DESCRIPTION OF CONTENT: When music therapy treatment goals are approached from the physiologic perspective, the music therapist can strive to treat many physiologic causes of behaviors while redirecting immediate mal-adaptive physical, emotional and cognitive function. This 2-hour session provides an overview of physiologic function important for music therapy clinicians to consider when treating clients and patients with this acoustic intervention. Sensory systems, information processing, homeostatic set-points, functional adaptation, and the six elements of music are discussed in response to some of the following questions: 1. Functional Adaptation -- we are a self-adaptive animal! What is functional adaptation? 2. Information Processing and Homeostatic Set-Points: What do these terms infer? What role does music play in these? 3. Perception : What do you know, and how do you know it is what you think it is? 4. The Fear Spiral Emotion first, Cognition later. What is the fear spiral? What is musics role in this? 5. Entrainment: Conforming to the elements. types of physiologic entrainment 6. Audition: Did you hear what I heard? What is dimensional hearing? Why does the music therapist need this information? 7. What is Music; What is Therapeutic Music? What is Music Therapy? How do the music elements affect physiologic function? 8. What am I looking at? What do I see? What can this mean? Observing behavior from physiologic perspectives. DESCRIPCION DEL CONTENIDO: Cuando los objetivos del tratamiento de Musicoterapia son pensados desde la perspectiva fisiolgica, el Musicoterapeutica puede tratar muchas causas de la conducta mientras redirige en forma inmediata las funciones maladaptativas fsicas, emocionales y cognitivas. Estas 2 horas se sesin proveer una mirada sobre la fisiologa humana, tan importante para los Musicoterapuetas cuando trabajan con pacientes desde la intervencin acstica. Los sistemas sensoriales, el procesamiento de la informacin, puntos de homeostasis, la funcin adaptativa, y los seis elementos musicales son explicados para responder algunos de los siguientes interrogantes: 1. Funcin Adaptativa -- somos animales auto-adaptados! Que es la funcin adaptativa? 2. Procesamiento de la informacin sensorial y puntos de Homeostasis: Que significan estos trminos? Que rol tiene la msica en ellos? 3. Percepcin: Que sabemos, y Como sabemos que es lo que creemos que es? 4. El espiral de miedo (fear spiral) Primero Emocin, luego Cognicin. Cual es el rol de la msica aqu? 5. Resonar con el ambiente (entrainment): Conformar con los elementos del medio. Tipo de resonancia fisiolgica 6. Audicin: Escuchaste lo que yo escuche? Que es la escucha 13imensional? d Por que el Musicoterapeuta necesita esta informacin? 7. Que es la Msica; Que es lo Terapeutico de la Musica? Que es la Musicoterapia?

Como los elementos de la msica afectan en lo fisiolgico? 8. Que estoy mirando? Que veo? Que puedo entender de lo que veo? Observando la conducta desde la perspectiva fisiolgica.

Dorita S. Berger, MA MT-BC, LCAT 27 Chipmunk Lane Norwalk, CT 06850

203-853-4426 dsberger@mags.net

Dorita S. Berger, MA MT-BC, LCAT PRESENTER BACKGROUND Dorita S. Berger, MA MT-BC, LCAT is a concert pianist, educator and Board Certified music therapist. She conducts an extensive private music therapy practice at her clinic in Norwalk, Connecticut, working with people with PDD, autism, language learning delays, sensory issues and anxiety disorders. She is Visiting Faculty Specialist of the Music Therapy department at Montclair State University in New Jersey, and also provides professional supervision, consultation and therapy services to schools, institutions and professionals throughout her region. In addition to several published articles in peer-reviewed scientific journals, Doritas published books include The Music Effect: Music Physiology and Clinical Applications(with co-author Dr. Daniel J. Schneck); Music Therapy, Sensory Integration and the Autistic Child, both available from Jessica Kingsley Publishers, and Toward The Zen Of Performance: Music Improvisation Therapy For The Development Of Self-Confidence In The Performer. In addition to teaching and clinical work, Ms. Berger, who has recently been nominated for the roster of the Fulbright Visiting Specialists program, is sought after to conduct seminars and lecture/workshops on music and physiologic function at Conferences and Universities internationally.

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TODO PASA Y ALGO QUEDA, PERO LO NUESTRO ES SONAR: PRESENTE Y FUTURO DE UNA EXPERIENCIA CON MUSICOTERAPIA EN UN CENTRO PENITENCIARIO.
Pilar Lago Castro
ABSTRACT/RESUMEN: OBJETIVO DEL TRABAJO El objetivo principal de este trabajo consiste en presentar, en este 12 Congreso Mundial de Musicoterapia cuyo subttulo reza Msica, Cultura, Sonido y Salud, la experiencia, diseo, planteamiento y conclusiones cuasi finales, del desarrollo de un proyecto de investigacin centrado en la utilizacin de la msica como terapia de apoyo y cambio en las conductas de un grupo de internos de uno de los Centros/Establecimientos Penitenciarios de nuestro pas. El tema nos parece lo suficientemente importante como para presentarlo dentro de este foro, ya que nuestra propuesta se centra en varios de los bloques importantes del Congreso. Nos referimos a la utilizacin de la msica como base fundamental de la Cultura y la Salud en un Centro de las caractersticas que aqu aparecen. Nuestra larga experiencia de trabajo en el campo de la musicoterapia, nos ha demostrado su alto valor teraputico razones que justifican nuestro objetivo prioritario, que no es otro que el de utilizar la msica como propuesta de mejora en los largos periodos de obligada soledad a la que los internos se ven sometidos, y como consecuencia lgica, a la aparicin de brotes de conductas especialmente agresivas a las que en muchas ocasiones se ven sometidas las personas que son objeto de nuestra investigacin. JUSTIFICACIN DE LA PROPUESTA Hoy ms que nunca, la msica y ms concretamente su utilizacin como herramienta teraputica, han demostrado su enorme protagonismo en cada uno de los campos de conocimiento en los que se hace presente. Ya nadie discute su poder teraputico, social, educativo, creativo, investigador, etc. Por esta razn entre otras, nos parece de justicia sealar que, el proyecto de investigacin que acabamos de terminar y hemos realizado a lo largo de ms de cuatro aos, ha demostrado que la prctica y desarrollo de este tipo de terapia en una institucin de las caractersticas como la comentada es fundamental, tanto en su utilizacin teraputica dentro de la institucin, como en su uso para la preparacin hacia el camino de la reinsercin social a la que estas personas tienen derecho. DESCRIPCIN DEL OBJETO DE ESTUDIO Como ya hemos comentado anteriormente, nuestro Proyecto de Investigacin se ha desarrollando con un grupo de internos, que de manera voluntaria quisieron formar parte del trabajo. Adems, contamos con un grupo de control con el mismo nmero de participantes y caractersticas muy similares, que al finalizar nuestra investigacin nos han permitido valorar y demostrar algunas de nuestras hiptesis de partida. Todos ellos, se encuentran cumpliendo penas de diferente duracin y por motivos muy distintos, ya que algunos son internos preventivos, otros ya tiene condena, y otros estn a la espera de ser trasladados a otra institucin para terminar de cumplir el resto de la sentencia. Dadas las caractersticas y peculiaridades del Centro Penitenciario en el que estuvimos llevando a cabo nuestra experiencia, nos vimos obligados a desarrollar nuestra tarea de manera muy especial. Por ejemplo, no toda la institucin entenda y aceptaba de igual forma nuestro proyecto y la metodologa utilizada para su desarrollo. Estas pequeas diferencias nos obligaron a disear y elaborar un programa muy especfico, en algunos casos, casi personalizado. DISEO DE MATERIALES Y MODELO DE TCNICAS UTILIZADAS Es importante destacar que, uno de los aspectos ms importantes de nuestro proyecto se centraba en el diseo y elaboracin de una serie de materiales indispensables para el ptimo desarrollo de la investigacin. Para ello, tuvimos que disear primero y elaborar despus, una serie de protocolos personalizados, al igual que algunas de las tareas y actividades propuestas a cada interno. Igualmente, las tcnicas utilizadas se centraron mucho en cada grupo, y tambin el tipo de sesin de musicoterapia que realizamos (individual y/o grupal). El estado emocional de los participantes, tambin fue uno de los factores que nos oblig a cambiar o adaptar en ms de una ocasin el desarrollo de una sesin, pero fundamentalmente nuestras actividades siempre utilizaron tcnicas de tres tipos: Activas, pasivas y mixtas. Finalmente y a la vista de los resultados, hoy podemos presentar un panorama de futuro mucho ms esperanzador que el hace cuatro aos atrs. A travs de nuestra iniciativa y el desarrollo de nuestra investigacin, han nacido propuestas de carcter cultural, ldico y social, que modifican sustancialmente el panorama de la institucin, lo que nos llena de alegra y satisfaccin. AUTORA: Doctora Pilar Lago Castro. Profesora Titular de Didctica de la Msica y Musicoterapeuta. UNED. Espaa. Pilar Lago Castro. Doctora en Ciencias de la Educacin. Licenciada en Piano, Canto y Pedagoga Musical. Diplomada en Pedagoga Teraputica, Musicoterapia y Danzaterapia, etc. Es profesora titular de Didctica de la Educacin Musical y Musicoterapia en el Dto. Didctica, Organizacin Escolar y DDEE de la Facultad de Educacin de la Universidad Nacional de Educacin a Distancia (UNED). Directora de los Cursos de Postgrado a Distancia: "Msica y salud: introduccin a la Musicoterapia" y "Didctica de la Educacin Musical-Lo que sea sonar" de la mencionada Universidad. Directora de los Cursos de Doctorado: Pensamiento, fundamento e Investigacin Musical, Educacin Musical On line y Didctica de la Educacin Musical y Musicoterapia, etc. Musicoteraputa en los Centros de Da de la Fundacin "Mara Wolff" y AFAL de Madrid y Alzheimur de Murcia. Profesora invitada a impartir Cursos de Doctorado, Master y Formacin Permanente en Universidades nacionales y extranjeras. Autora de5Materiales Multimedia: Libros, CDs, Cintas-audio, Artculos y Vdeos. 1 Programas Radiofnicos y de Televisin Educativa con temas sobre Educacin-Didctica Musical y Musicoterapia, emitidos a travs de Radio Nacional de Espaa y TVE-2 en la franja horaria destinada a nuestra Universidad.

CENTRO DE TRABAJO: Dto. Didctica, Organizacin Escolar y DDEE. Universidad Nacional de Educacin a Distancia (UNED) Edificio de Humanidades. C/ Senda del Rey, 7. Dcho.123. 1 Planta. 28040 Madrid. Espaa. Telfono: 0034 91 3986973 E-mail: plago@edu.uned.es

TITLE: EVERYTHING PASSES AND SOMETHING REMAINS, BUT OURS IS TO SOUND: THE PRESENT AND FUTURE OF AN EXPERIENCE WITH MUSIC THERAPY IN A PRISON

ABSTRACT: OBJECTIVE ABSTRACT/SUMMARY OF OUR CONTRIBUTION

The primary aim of this paper is to present the experience, design, posture and almost-final conclusions of a research project on the use of music as support therapy and behavior change in a group of inmates at one of our countrys penitentiaries. The subject strikes us as important enough to present at this 12th World Congress of Music Therapy dedicated to Music, Culture, Sound and Health, as our proposal centers on the use of music as an essential basis for Culture and Health in a penitentiary center such as the one we describe here. Our long experience working in the field of music therapy has demonstrated its high therapeutic value, thus justifying our primary objective which is none other than to use music as a means for therapeutic improvement during the long periods of forced solitude to which the inmates find themselves subjected, as well as for the outbreaks of especially aggressive behavior which many of the individuals included in our study also often experienced.

JUSTIFICATION OF THE PRESENTATION (PAPER) Today more than ever, music and more specifically its use as a therapeutic tool has shown its centrality in each one of the fields of knowledge in which it appears. No one argues its therapeutic, social, educational, creative, and intellectual power any more. For this reason, among others, it only seems right to us to point out that the research project we have just completed and have carried out for more than four years has shown that the practice and development of this kind of therapy in an institution with the characteristics such as we have commented is fundamental, both in its therapeutic use within the institution, and also in its use as preparation towards the reintegration into society that these individuals are entitled to.

DESCRIPTION OF THE OBJECT OF STUDY As we have commented before, our Research Project was developed with a group of inmates who voluntarily chose to take part in the study. We also had a control group with the same number of participants and similar characteristics that at the end of our research allowed us to assess and demonstrate some of our initial hypotheses. All of the subjects are serving terms of different lengths and for different reasons; some are preventive prisoners and others are already serving their sentences, while still others are waiting to be moved to another institution to complete their prison term. Give the characteristics and peculiarities of the Penitentiary Center where we carried out the study, we were obliged to develop our activity in a very special way. For example, not everyone at the institution understood and accepted our project and the methodology we used in the same way. These small differences obliged us to design and elaborate a very specific and in some cases almost personalized program. DESIGN OF MATERIALS AND MODEL OF TECHNIQUES USED It is important to stress that one of the most important aspects of our project consisted of the design and elaboration of a series of indispensable materials for the optimal development of our investigation. Thus, we had to design first and then elaborate a series of personalized protocols as well as some of the tasks and activities proposed to each inmate. Equally, the techniques used were centered on each group as well as the kind of music therapy session we carried out (individual or group). The emotional state of the participants was also one of the factors that obliged us to change or adapt the development of a session on more than one occasion; but basically our activities always used three kinds of techniques; active, passive and mixed. Finally and in view of the results, today we can present a panorama of a much more hopeful future than four years ago. Through our initiative and the development of our study, cultural, leisure and social proposals have been born that substantially change the panorama of the institution, something that fills us with joy and satisfaction.

AUTHOR: PhD Pilar Lago Castro. Professor. UNED. Spain.


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Musicoterapia en la atencin integral del quemado


Lic. Gabriela Wagner, Lic. Pedro Bylik, Dr. Fortunato Benam.
Resumen: El presente trabajo tiene por objetivo compartir y discutir el rol potencial de la musicoterapia en a atencin de psicotrauma, duelo, ansiedad, dolor, secuelas fsicas y adaptacin cultural temporaria por quemaduras. Se partir de un estudio de caso que da cuenta del tratamiento integral de un joven boliviano de la comunidad aymar de19 aos de edad, vctima de una explosin de gas natural mientras estuvo pescando con su padre y su hermano. Descripcin: Lleg a Buenos Aires debido a la complejidad de sus quemaduras. Fue trado inconsciente a Buenos Aires al CEPAC (Centro de Excelencia para el Quemado). Una vez recuperado, fue alojado en un centro comunitario para el quemado con el objeto de continuar su rehabilitacin fsica y contencin emocional. B. de origen aymar, con poco conocimiento del espaol, crecido en un ambiente y una cultura diferentes a la del equipo interdisciplinario tratante. Su tratamiento fue un desafo y un aprendizaje para todos. Esta presentacin se basa en sus propios recuerdos de las diferentes etapas de su atencin primaria y cuidados del equipo interdisciplinario de profesionales y su tratamiento musicoteraputico. Lo presentado abarca momentos relevantes a partir de su traslado a Buenos Aires, el abordaje quirrgico de sus lesiones, la contencin psicolgica inicial, as como su tratamiento interdisciplinario posterior (Kinesiologa, Psicologa, Terapia Ocupacional, Psicopedagoga, Musicoterapia, Plstica y Artesanas) con el objetivo de favorecer su recuperacin y reintegracin social en Bolivia, su tierra natal. La musicoterapia se torn muy importante no slo para B sino para el equipo y los otros integrantes de la casa comunitaria. . El encuadre predominantemente no verbal sonoro-musical contribuyo en su adaptacin creativa a una situacin nueva e imprevista marcada por la transculturacin temporal y el duelo por lo perdido. A partir del reconocimiento de su identidad cultural sonoro musical, de su ambiente sonoro habitual, de sus tradiciones musicales comunitarias y la seleccin de instrumentos musicales de acuerdo a sus necesidades y posibilidades, pudo colaborar en su recuperacin fsica, psicosocial y espiritual. Su paso por la institucin fue una leccin acerca de como una situacin de crisis puede convertirse en nuevas oportunidades. Referencias bibliogrficas: Benenzon, Rolando, Gainza, Violeta H. de, Wagner, (2007) Gabriela La nueva musicoterapia Ed. Lumen, Buenos Aries, Argentina Levitin, Daniel J.(2006) This is you Brain on Muisc. The Science of a Human Obsession. Ed. Penguin Books Ltd. Londres, Inglaterra Llins, RodolfoR. (2003) El cerebro y el mito del yo. El papel de las neuronas en el pensamiento y el comportamiento humanos. Ed. Grupo Editorial Norma, Bogot, Colombia Montilla Lpez, Pedro (2003) El cerebro y la msica. Ed. Universidad de Crdoba, Crdoba, Espaa Gabriela Wagner, profesora de Musicoterapia Clnicas e Investigacin en la Universidad del Salvador, Facultad de Medicina, Buenos Aires. Trabaja en el Departamento de Salud Mental del Hospital Universitario de Buenos Aires, Facultad de Medicina, en Departamento de Salud Mental de CEMIC, (Centro de Educacin Mdica e Investigaciones Clnicas) y en la Fundacin Dr. F.Benam para el Quemado y en la Fundacin Benenzon de Bs. As. Fue presidente y es miembro de ASAM, Asociacin Argentina de Musicoterapia y es Presidente de la Federacin Mundial de Musicoterapia. Email: gwagner@fibertel.com.ar

Music Therapy in the Comprehensive Care of Burn Patients Paper: Lic. Gabriela Wagner, Lic. Pedro Bylik, Dr. Fortunato Benaim. Abstract This paper`s purpose is to share and discuss the potetial role of music therapy in the treatment of psicotrauma, mourning, anxiety, pain, physical impairment and cultural adjustment. It is part of a case study made by an interdisicplinary health team which worked with him for 9 months. B., a 19 years old Bolivian man from the Aymar community was victim of a gas explosion while he was fishing with his father and brother. He was treated at the Fundacin del Quemado Dr. Fortunato Benam. Description: B., came to Buenos Aires due to the complexity of his injuries. He was brought unconsious to CEPAC (Centro de Excelencia para el Quemado) and once he recovered enough he was hosted in a community house for burned poeple for his psysical rehabilitation. and emocional holding. B., is an Aymara boy with little knowledge of Spanish, grown up in different enviroment and culture than the interdisciplinary health team members. His treatment was a challenge and an opportunity of learning for the entire rehabilitation team. This presentation is based on his memories about the different stages of his care, and his music therapy treatment. We will present the surgical approach of his injuries, the initial p17 chological holding he needed and briev reference to the subsequent sy interdisciplinary treatment (Kinesiology, Psychology, Occupational Therapy, Music Therapy, Artherapy) in order to promote the patient`s recovery and social reintegration in Bolivia, his homeland.

Music Therapy became importan not only to the patient but also to the health team and the others who lived at the comminity house. The predominantly non verbal frame of Music Therapy contributed to his creative social adaptation to a new an unexpected situation of temporary transculturation and affliction. The recognition of his sonorous-musical identity, of the sonorous enviroment he was used to, his community musical traditions and the selection of musical instruments according to his needs and possiblities collaborated in his physical, psycosociological and spitirual recovery. Getting to know him was a lesson of how a crisis can become an opportunity. References: Benenzon, Rolando, Gainza, Violeta H. de, Wagner, (2007) Gabriela La nueva musicoterapia Ed. Lumen, Buenos Aries, Argentina Levitin, Daniel J.(2006) This is you Brain on Muisc. The Science of a Human Obsession. Ed. Penguin Books Ltd. Londres, Inglaterra Llins, RodolfoR. (2003) El cerebro y el mito del yo. El papel de las neuronas en el pensamiento y el comportamiento humanos. Ed. Grupo Editorial Norma, Bogot, Colombia Montilla Lpez, Pedro (2003) El cerebro y la msica. Ed. Universidad de Crdoba, Crdoba, Espaa Gabriela Wagner, is Professor in Clinical Music Therapy and Research at the Universidad del Salvador, Faculty of Medicine, Buenos Aires, Argentina. Former Head of the Music Therapy Training program, she teaches in graduate and postgraduate courses. She also works at the Department of Mental Health at the University Hospital at the School of Medicine of the University of Buenos Aires. at the Psichiatry Department of CEMIC (Medical Education and Clinical Research Centre) and Dr. F. Benam Fundation for the Burned. She is former President and member of the Argentine Association of Music Therapy. She is President of the World Federation of Music Therapy. Email: gwagner@fibertel.com.ar

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HARMONIC CHANT AND MUSICAL RECOVERED ARCHETYPES.


Raffaele Schiavo - Alberto Ezzu
ABSTRACT An occasion to learn and verify in group the key elements of Overtone Singing and its application in musical, social and therapeutic ambit. A pretext to recover the authentic perception of our innate music-abilities. DESCRIPTION Each sound, individually considered, can be divided into the multiples of its fundamental frequency. This phenomenon can be understood through scientific instruments which enable us to verify how a clearly perceptible frequency is really composed of many other smaller frequencies called harmonics. Even the human voice has its own harmonics, but technological instruments are not necessary to identify their existence. It could be found the way to sing them. The Harmonic Chant technique teachs people about this possibility, making visible the forgotten qualities of the human voice. Because of the resonance, each human face receives only a precise harmonic sequence prefixed by nature. An event which can make itself extraordinarily musicable. So the human species has engraved a precise musical heredity into the living bone-facials cavities. In fact, considering the harmonic sequence as a series of music intervals, it is possible to discover how most of the popular ancient melodies all over the world come from this archetype frequency nucleus. A good harmonic singer emits a double vocal sound at the same time, a diplophony from his own voice. A part of it keeps only one sound, while the other one moves on the harmonics, returning a sort of flute melody on a bourdon: it sounds like the prototype of the bagpipes. The effect is really fascinating and somewhat enchanted. Something of absolutely human: the spirit of music in flesh and blood. * The participants (not more than 30, not less than 10) should wear comfortable clothes, preferably track suits and knee-length socks, and should bring a large mat. * Hand-outs on the lectures will be given to participants. * A welcoming environment is essential to guarantee the success of the workshop. So, good airing, acoustics, lighting are necessary as well as freedom of movement, acoustic isolation from surrounding activities and a hi-fi system with CD player.

BIOGRAPHY RAFFAELE SCHIAVO Eclectic musician, music therapist, expert of early music and overtone singing, he works at national health services, rehabilitation centres, hospitals, schools. His research in oncology and penitentiary is worldwide appreciated. BIOGRAPHY ALBERTO EZZU Musician, music therapist, overtone singing teacher and leader of the Alberto Ezzu Lux Vocal & Instrumental Ensemble. Hes responsible for the training ambit at the Centro Musicoterapia Benenzon Italia.

CONTACT: RAFFAELE SCHIAVO, Viale Teracati 50/B 96100 Siracusa, Italy e.mail: raffaeleschiavo@tin.it website: www.raffaeleschiavo.it ALBERTO EZZU alberto.ezzu@centrobenenzon.it

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THE CREATIVE ADJUSTMENT IN GROUP HARMONIC CHANT. A GESTALTIC KEY OF READING.


Giuseppe Sampognaro, Raffaele Schiavo
(Istituto di Gestalt Human Communication Center Siracusa, Italy) ABSTRACT The Creativity is a large container of eccentricity, fed by tensions of joys and torments, by shocks of pleasures and pains, by anguishes of collapses and recoveries; they are vital elements from which to learn how to report the in-conscious into the destined form to open new horizons of sense.

DESCRIPTION The Gestalt Psychoterapy focuses the concept of contact in its hermeneutical and clinical vision, meant as intersubjective place in which the Self meets the environment. Making contact, the individual carries a creative adjustement out, because he finds an original and personal modality of attunement with the Other. This process of co-creation is clear inside the collective Overtone Singing Experience, when the single improvisation moulds itself into the meeting with the others, passing through the well distinct phases inside of what the authors describe as Automanaged Formal Structure. The A.F.S. phases show a correlation with the C.W.C. (Contact-Withdrawal Cycle) phases indicated by the Gestalt model: 1. 2. 3. 4. 5. 6. 7. 8. 9. Silence/Confluence; Sounds research/Sensation; Chaos/Directionality; Harmony/Excitation; Improvisation/Action; Trans-mission/Contact; Acme/Final contact (Satisfaction) reabsorption/Withdrawal; silente/Assimiliation.

The transposition in phenomenological/relational ambit of Stern and Trevarthens theories allows to see new motives of adhesion to a music therapy based on an eclectic system, in which the simple predisposition to the imagination, from always suspected characteristic of our psyche, becomes on the contrary the strategic element of researching (ricercare was an ancient synonymous of musical improvisation); therefore, the inevitable appearance of the prototheatre moments becomes privileged container of emotive states and fantasies for that people who, even in front of a crisis, can take the risk to put themselves back in the game.

BIOGRAPHY GIUSEPPE SAMPOGNARO Gestalt Psychotherapist, journalist and writer, he works at Child Neuropsychiatry in Siracusa. Founder of the Italian magazine Esperienze Psicopedagogiche, hes author of Mille mondi: un romanzo terapeutico. BIOGRAPHY RAFFAELE SCHIAVO Eclectic musician, music therapist, expert of early music and overtone singing, he works at national health services, rehabilitation centres, hospitals, schools. His research in oncology and penitentiary is worldwide appreciated. CONTACT: RAFFAELE SCHIAVO, Viale Teracati 50/B 96100 Siracusa, Italy e.mail: raffaeleschiavo@tin.it website: www.raffaeleschiavo.it ALBERTO EZZU alberto.ezzu@centrobenenzon.it

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Musicoterapia y Salud Mental: Algunos aportes del Grupo de Musicoterapeutas Cubanos


Teresa Fernndez de Juan - Rigoberto Oliva Snchez - Jorge I. Fiallo Salazarte - Idida Mara Rigual Gonzlez
Resumen: Se presenta la aplicacin de tcnicas musicoteraputicas con: equinoterapia ante nios con necesidades especiales, en ancianos deprimidos , la elaboracin novedosa de instrumentos aerfonos para aliviar trastornos infantiles y el uso en mujeres violentadas por su pareja en Tijuana , Mxico como modelo piloto para reaplicarla en Cuba. Descripcin de los cuatros trabajos a presentar en el poster: 1- Aplicada desde el 2003 en el Proyecto de Equinoterapia en La Habana , en un grupo de nios de entre 8 meses y 17 aos y con patologas y trastornos como sndrome de down, autismo y parlisis cerebral , se utiliza la equinoterapia en un enfoque integrador combinado con la musicoterapia, lo cual potencia sus efectos rehabilitatorios que se expresan en el proceso de integracin sensorial, pues se agilizan las sinapsis neuronales y las respuestas adaptativas son mejores y ms rpidas, produciendo mejora en ltima instancia en la autoestima, comunicacin, adaptacin y socializacin en el medio, desarrollo de la motricidad y aumento de la capacidad de atencin, aprovechando los movimientos tridimensionales , temperatura corporal y textura del caballo con alcance teraputico habilitatorio y rehabilitatorio. 2- Se exponen los resultados fundamentales de dos investigaciones realizadas en casi una dcada en ancianos de dos comunidades de la Habana ante la aplicacin de tnicas musicoteraputicas diversas utilizando instrumentos y msicas autctonas cubanas, y cmo se beneficiaron disminuyendo significativamente estados depresivos y otros trastornos del estado de nimo, favoreciendo la socializacin, la adquisicin de nuevas habilidades, los espacios recreativos e incluso otros sntomas de tipo psiofisiolgico que proporcionaron el descenso psicofarmacolgico. 3- Explicitando la construccin artesanal de tres instrumentos musicales aerfonos se pone en evidencia sus posibilidades teraputicas sin desgaste de grandes recursos lo cual coadyuva a su internacionalizacin a bajo costo para aplicacin masiva en comunidades de bajos recursos. Por ejemplo con la flauta sin huecos, variando delicadamente la presin del soplo se cambia de un sonido al siguiente, lo cual ayuda a regular el tono muscular del diafragma y la musculatura intercostal durante la espiracin y favorece la concentracin y relajacin Y las ocarinas de construccin escalonada ofrecen posibilidades participativas y desarrollo de capacidades potenciales en casos con retardo. Slo tapar y destapar un agujero soplando rtmicamente, en un salto de cuarta, crea un pedal de tnica. Alternando con dos agujeros se obtiene la cuarta y la quinta, un ambiente de dominante-tnica que favorece mayor desempeo musical y ms conexiones neuronales. 4- A lo largo del ltimo trabajo expone la aplicacin de tcnicas de musicoterapia en mujeres violentadas por su pareja y que acudieron voluntariamente a denunciar su problemtica en el DIF de Tijuana, Mxico. En ellas se apreciaba al inicio del tratamiento: una baja autoestima, sntomas de depresin y una ansiedad elevada , mismas en las que se constat un cambio muy positivo al finalizar el nmero de sesiones de trabajo teraputico-investigativo. Por tratarse de un estudio en poblacin piloto y en plan experimental, se exponen los resultados fundamentales con el objetivo de comenzar el proceso de validacin de sus efectos para este tipo de situaciones y su implementacin en Cuba. Nombre y datos del autor o autores (Mini-biografa de los presentadores): 1. Teresa Fernndez de Juan.: Dra. en Ciencias Psicolgicas por la Universidad de la Habana, Cuba, (con la tesis sobre efectos a nivel cerebral de selecciones musicales bajo los ppios del ISO aplicadas a pacientes ingresados por ansiedad). Especializacin en Musicoterapia por el Conservatorio de Msica de Ro de Janeiro, Brasil, Coordinadora de la Primera Maestra de Musicoterapia en Cuba y del Grupo de Musicoterapeutas Cubanos, Miembro fundador del CLAM y actual Secretaria del mismo, pasante de Maestra en Musicoterapia en la Habana, Investigadora Titular C y Profesora de Doctorado de El Colegio de la Frontera Norte, Baja California, Mxico. Autora de varios libros, captulos y artculos sobre de investigaciones acerca de musicoterapia publicadas en ms de una decena de pases. 2. Dr. Rigoberto Oliva Snchez: MD, MSc, Doctor en Medicina por la Facultad de Medicina de la Habana, Cuba, Master en Longevidad Satisfactoria, Mdico Residente de Psiquiatra del Hospital Clnico Quirrgico 10 de Octubre, Profesor Asistente Adjunto a la Facultad de Psicologa de la Universidad de La Habana , Instructor Adjunto al Instituto Superior de Arte de La Habana, Especialista con Maestra en Tratamientos en Ancianos utilizando tcnicas de musicoterapia, autor de dos artculos internacionales sobre este tema. 3. MSc. Jorge I. Fiallo Salazarte: Licenciado en Msica (Musicologa) del Instituto Superior de Arte de la Habana, Cuba, Nivel Medio de Guitarra en la Escuela Nacional de Arte, estudios adicionales de fagot , arpa y piano , post-grados en Filosofa, Esttica, Etnologa, Periodismo, Semiologa y Sociologa Musical en Cuba. Mster en Artes, y Mencin en Msica, autor de varios artculos sobre musicologa, tutor de tesinas sobre aspectos musicoteraputicos y maestro de asignaturas afines en Mxico. Actual Investigador del Centro de Investigacin y Desarrollo de la Msica Cubana. 4. Lic. Idida Mara Rigual Gonzlez: Clarinetista graduada en el Instituto Superior de Arte, Lic en Idioma Francs en el Instituto de Lenguas Extranjeras de Cuba, Miembro fundador y activo de la Sociedad de Equinoterapia de Cuba, con grandes relaciones con las Sociedades internacionales sobre el tema, invitada a cursos internacionales sobre equinoterapia y arteterapia, y Maestrante con la Tesis Sistema de Activides de estimulacin en jvenes autistas uniendo tcnicas musicoteraputicas con la equinoterapia. Contacto: Teresa Fernndez de Juan, Calle H, No. 510 , entre 21 y 23, Vedado, Municipio Plaza, Ciudad de la Habana, Cuba. CP:10 400 , Tel: (537) 8321378, emails: teresaf@colef.mx y robade@casa.cult.cu .
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Musictherapy and Mental Health: Somes works of Cuban Musictherapist Group.

Abstract:: In these works it shows musictherapy technic applications with: horsetherapy for children who need special treatments, to depressed elders, construction of airphones musical instruments to release children disorders and theire employment in abused women in Tijuana, Mexico, as a pilot model in order to aplied in Cuba.

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Riamos y Juguemos! Nios con Autismo Exploran Msica, Creatividad y Humor Lets Laugh and Play! Children with Autism Explore Music, Creativity and Humour/
Ann Lehmann - Janet Andrews
Related Conference themes: Music Therapy within the Social Realm; Music Therapy and specific procedures in Pervasive Developmental Disorders and Autism Spectrum; and Music Therapy Research ABSTRACT Lets Laugh and Play! Children with Autism Explore Music, Creativity and Humour Children with autism can engage in experiences of spontaneity, creativity and humour through improvisational music therapy. In this one year study, a reversal design was utilised to evaluate the effectiveness of specifically focusing on developing humour and creativity in music therapy sessions with thirteen high functioning children with autism. Riamos y Juguemos! Nios con Autismo Exploran Msica, Creatividad y Humor Nios con autismo pueden involucrarse en experiencias de espontaneidad, creatividad y humor a travs de musicoterapia improvisacional. En este estudio de un ao de duracin, se utiliz un diseo reversivo para evaluar la efectividad de un enfoque humorstico y creativo en sesiones musicoteraputicas con trece nios con autismo de alto funcionamiento. DESCRIPTION This clinical research project investigates the correlation between humour, creativity and increased communication, expressiveness and social interaction with high functioning students with autism (aged 7-11 years) in music therapy sessions. Humour can be seen as an individualistic and spontaneous expression of sheer creativity. Creativity involves improvisation, collaboration and communication (Sawyer, 2006). The potential for humour and creativity to help address social relating difficulties in children with autism has been explored over several disciplines including education, drama, speech therapy and psychology. To develop social and communicative interplay, an element of humour often underlies therapeutic intervention. Humour boosts childrens creative thinking capacity and is a basic component of interpersonal competence (McGhee, 2002). Indeed, humour can be seen as the oil that lubricates the childs growing flexibility of thought (Newson, 2000).Within improvisational music therapy, musical humour can encourage warmth, fun and the unexpected and strengthen the connection between the client and therapist (Amir, 2005). In this one year study, thirteen high functioning students with autism were given the opportunity to evolve unique musical responses incorporating humour and creativity in weekly music therapy sessions. A reversal design was utilised, focusing on humour and creativity separately, to evaluate the effect these variables had on students communication, expressiveness and social-relating skills. Quantitative data was collected for each child through a rating scale developed by researchers and qualitative data collected through questionnaires. Findings from this study showed all students made gains in humour skills, imaginative play, variability, self confidence, social relating, autonomy and choice making. Every student was able to develop their own intentionally creative/ humorous responses, with varying degrees of structure required to assist this process. Humour skills and imaginative expression appear to have transferred to other settings (i. e. the classroom and home environment). This study suggests that engaging in acts of humour and creativity in music therapy sessions can help children with autism develop confidence in communication, expressiveness and social-relating skills. Este proyecto de investigacin clnica explora la co-relacin entre el humor, la creatividad y el aumento de comunicacion, expresividad e interaccin social en estudiantes con autismo de alto funcionamiento (de 7 a 11 aos) en un entorno musicoteraputico. El humor puede ser visto como una expresin individual y espontnea de creatividad pura. La creatividad encompasa improvisacin, colaboracin y comunicacin (Sawyer, 2006). El potencial del humor y creatividad para ayudar a nios con autismo a enfrentar dificultades en las relaciones sociales ha sido objeto de exploracin en varias disciplinas, incluyendo educacin, drama, logopedia, y psicologa. En el desarrollo de la interaccin social y comunicativa, a menudo existe un elemento de humor que acompaa la intervencin teraputica. El humor fomenta la capacidad creativa y pensativa del nio y es un componente bsico en su capacidad interpersonal (McGhee, 2002). Por cierto, el humor puede ser visto como el aceite que lubrica la creciente flexibilidad en el pensamiento del nio (Newson, 2000). Dentro de la musicoterapia improvisacional, el humor musical puede promover cordialidad, diversion, lo inesperado, y tambien fortalecer la conexin entre el cliente y el terapeuta (Amir, 2005). En este estudio de un ao de duracin, trece estudiantes con autismo y de alto funcionamiento tuvieron la oportunidad de desarrollar respuestas musicales nicas, incorporando humor y creatividad en sesiones musicoteraputicas semanales. Para este estudio, se utiliz un diseo reversivo, con un enfoque en humor y creatividad por separado, para evaluar el efecto de estas variables en la comunicacin, expresividad e interaccin social de estos nios. Por cada nio, se coleccionaron datos cuantitativos mediante una escala de clasificacin que fue diseada por los investigadores, y datos cualitativos a travs de cuestionarios. Los resultados indican que todos los estudiantes lograron un aumento en su habilidad para expresar humor, juego imaginativo, variabilidad, 2e autoestima, relaciones sociales, autonoma y capacidad de escog3 r. Todos los estudiantes lograron desarrollar sus propias respuestas creativo-humorsticas, requiriendo diferentes grados de estructura para facilitar este proceso. Habilidades humorsticas y expresin imaginativa parecen haber sido transferidas a otros entornos (eg. la sala de clases y el ambiente familiar). Este estudio sugiere que

involucrarse en actos de humor y creatividad en sesiones musicoteraputicas pueden ayudar a los nios con autismo desarrollar confianza en su comunicacin, expresividad y relaciones sociales. Ann Lehmann & Janet Andrews (Nordoff - Robbins Music Therapy Australia) Ann Lehmann & Janet Andrews 5 Palmyra Ave, Thirroul, 2515, NSW, AUSTRALIA annlehmann@idx.com.au

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Closing Songs: Music to facilitate life review, relationship closure and grieving. Canciones de clausura: Musica para facilitar un repaso de vida, cierre de relaciones y penas.
Amy Clements-Corts
ABSTRACT: The role of music in palliative care will be discussed with a specific focus on using music to help patients: grieve losses inherent in dying; facilitate life review; and, in closing relationships both intrapersonal and interpersonal. Case studies and data from a pilot study will be presented alongside narratives to illuminate effective music therapy techniques. El papel de la musica en personas en tratamiento paliativo sera abordado con un enfasis en usar la para ayudar a pacientes: lamentar y entender la perdida al morir; facilitar un repaso de vida; y acceptar un cierre en relaciones intrapersonales e interpersonales. Casos y detalles de un estudio piloto seran presentado con narrativas para demostrar las efectividad que ofrece la musico terapia. DESCRIPTION: According to Periyakoil and Hallenbeck (2002) persons who are dying prepare for their death by mourning the losses implicit in death. This includes mourning separation from loved ones, simple pleasures of life, missed opportunities, and future losses. They also state that the person who is dying often experiences a radial change in self-image that may leave him/her feeling as if he/she has lost a piece of their identity. Music therapists can play an important role in helping clients work through these issues of loss by facilitating the grieving process, helping clients end relationships, and using music to augment life review. Case studies that illustrate this work will be presented focusing on the goals, and treatment processes with clients. The results of a pilot project which involved my examination of the song writing experience with a family member, and a client who wrote an opera of the last ten years of his life will also be presented. Essentially the opera includes songs that end relationships with his first wife; his current wife; his grandson; and himself, and it is a life review of those ten years. Data were collected from several sources including: client composed songs; interviews; and, and my analysis of the music therapy sessions. Narratives will be used to present the results alongside a case study of the music therapy sessions with each client, which functions to provide the audience with background information on each client, descriptions of the music therapy sessions, and my analysis of the therapeutic use of music. Once all the data were collected in each case I coded each source and looked for the themes that ran through them, and subsequently composed a narrative for each based on the themes. Direct quotes from the data sources have been included in each of the narratives. The narratives were then taken back to the clients for verification. Segun Periyakoil y Hallenbeck (2002), personas quienes estan en sus ultimos dias se preparan para su muerte al lamentar las perdidas implicitas al morir. Esto incluye la separacion de los seres queridos, cosas bonitas de la vida e oportunidades perdidas en el pasado y futuro. Ellos tambien dicen que la persona que esta muriendo tambien siente un cambio radical en su propia imagen que la puede dejar con un sentido de perdida de su propia identidad. Musico terapeutas pueden jugar un factor importante al asistir a clientes manejar estos sentimientos de perdida. Tambien pueden ayudarles a terminar sus relaciones personales usando la musica para como un instrumento para hacer un repaso de sus vidas. Estudios de casos que ilustran este trabajo seran presentados enfocandose en las metas y tratamiento con los clientes. Los resultados de un projecto piloto el cual detalla mis experiencias con clientes que escribieron musica y una opera de los ultimos diez aos de sus vida tambien seran expuestas. En sintesis, la opera incluye canciones que concluyen la relacion con su primer esposa, su esposa actual, su nieto y hasta aun con l mismo. A su vez, es un repaso de su vida durante esos diez aos. Informacion fue recolectada de varias fuentes incluyendo : canciones compuestas por clientes ; entrevistas y mi analisis de las sesiones de musico terapia. Narrativos seran usado para presentar los resultados con un estudio de la musico terapia con cada cliente que le dara a la audiencia informacion necesaria de ellos y tambien mi analisis del uso terapeuctico de la musica. Una vez que toda la informacion fue acumulada en cada caso, codifique cada fuente y busque temas de importancia para ellos y pude hacer una narrativa para cada uno de ellos usando los temas. Las narrativas fueron entonces llevadas a los clientes para su verificacion e incluyen referencias directas de cada una de las fuentes. PRESENTER NAME(S) AND AFFILIATION(S): Amy Clements-Corts, MusM, BMT, MTA, Senior Music Therapist Baycrest Centre, Toronto, Ontario Sessional Instructor University of Windsor, Windsor, Ontario Member of CAMT, and AMTA Internship Chair for CAMT MINI BIOGRAPHY OF PRESENTER: Amy Clements-Cortes is the senior music therapist for Baycrest Centre in Toronto, Canada where she works with clients in rehabilitation, behaviour neurology, complex continuing care and palliative care. CONTACT INFORMATION: Amy Clements-Corts, Baycrest Centre Department of Therapeutic Recreation 3560 Bathurst Street

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Toronto, Ontario M6A 2E1 Candada (416) 785-2500, Ext: 2304 (work); (905) 417-4486 (home) aclements@baycrest.org

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Music Therapy with Women Survivors of Intimate Partner Violence: A Feminist Perspective
Elizabeth York - Maureen Hearns
Abstract: This presentation explores the relationship between music therapy and feminist ways of working with women who have survived intimate partner abuse. The work is based on a grounded theory approach to qualitative research conducted by the presenters and examines feminist themes that emerged during music therapy and expressive arts interventions. Description: Finding Voice was a research initiative conducted in Logan, Utah, USA. Over an eight month period, the authors conducted music therapy and expressive arts sessions with a total of forty women, members of a support group provided by the Community Abuse Prevention Services Agency (CAPSA). Given the empowering effects of feminism on one of the researchers (feminist activism, undergoing feminist therapy, performing in womens music festivals and concerts), a feminist approach to research and music therapy with these women was undertaken. Hekman (1997) identified a feminist research standpoint as women speaking their truth (cited in Ramazanoglu, 2002, p. 64). Women speaking their truth are situated in relation to forms of powerthat shape their lives; that they can exercise; that constitute what counts as knowledge; that determine whose voices can be heard (p. 65). Feminist goals in therapy defined by Worell and Remer (1992) include: 1) helping clients to trust their own experience and their intuition; 2) enabling clients to appreciate female-related values; 3) assisting women in taking care of themselves; 4) helping women accept and like their own bodies; and 5) defining and acting in accordance with their own sexual needs. A feminist approach to music therapy included vocal work, (literally, finding voice), teaching songs with affirming lyrics written by female singer-songwriters, and analysis of womens musicboth classical and popular music composed by women. Using a grounded theory approach, sessions were audio recorded and transcribed. Transcriptions were analyzed each week for thematic content using a coding procedureintensely analyzing the dataoften sentence by sentence or phrase by phrasecontained in field notes, interviews or other documents (Amir, 1996). Here, the data also consisted of creative materials generated during the sessions including poetry and original song lyrics. This presentation will provide the results of this analysis. Presenters Names/Affiliation/Contact Information Elizabeth York, PhD, MT-BC Director, Music Therapy Program Petrie School of Music Converse College 580 East Main Street Spartanburg, South Carolina, USA 29302 864- 596-9166 (o) 864-596-9167 (f) Elizabeth.york@converse.edu

Maureen Hearns, MaEd, MT-BC Director, Music Therapy Program Utah State University 4015 Old Main Hill Logan, Utah 84322-4015 Mini Biography: Elizabeth York directs the Music Therapy Program at Converse College, South Carolina. She serves on the Education Council, the editorial board of Music Therapy Perspectives, and the AMTA Ethics Board. Maureen Hearns directs the Music Therapy Program at Utah State University, is an AMTA Assembly Delegate, member of the AMTA, Judicial Review Board, and the AMI Professional Development Committee. 1. Ttulo: La terapia de msica con las sobrevivientes de la violencia de un compaero ntimo: una perspectiva feminista 2. Sumario: Esta presentacin explora la relacin ente la terapia de msica y las maneras feministas de trabajar con las mujeres que han sobrevivido el abuso de un compaero ntimo. Se basa este trabajo en un enfoque de grounded theory a la investigacin cualitativa conducida por las participantes y examina los temas feministas que emergen durante intervenciones de terapia de msica y de artes expresivas. 3. Descripcin: Encontrando voz fue una iniciativa investigativa conducida en Logan, Utah, Estados Unidos. Durante ocho meses, las autoras condujeron sesiones de terapia de msica y de artes expresivas con cuarenta mujeres, miembros de un grupo de apoyo 2 (CAPSA). Dado los efectos autorizantes del feminismo en una de la proveido por la Community Abuse Prevention Services Agency 7 investigadoras (activismo feminista, experimentando terapia feminista, ejecutando en festivales de msica y conciertos de mujeres), se emprendi un enfoque feminista a investigacin y a terapia de msica con estas mujeres. Helman (1997) identific la postura investigativa

feminista como mujeres diciendo su verdad (citado en Ramazanoglu, 2002,p. 64). Mujeres diciendo su verdad estn situadas en relacin a las formas de poderque amoldan sus vidas; que pueden ejercer; que constituyen lo que cuenta como conocimiento; que determina cuyas voces pueden ser odas (p.65). Las metas feministas en la terapia definidas por Worell y Remer (1992) incluyen: 1) ayundndoles a las clientes fiarse de su propia experiencia y de su intuicin; 2) facilitndoles a las clientes apreciar los valores femininos; 3) asistindoles a las mujeres en cuidarse de si mismas; 4) ayudndoles a las mujeres aceptar y querer sus propios cuerpos; y 5) definiendo y condujindose de acuerdo con sus propias necesidades sexuales. Un enfoque feminista a la terapia de msica inclua trabajo vocal, (literalmente, encontrando voz), enseando canciones con lrica afirmativa escritas por cantatrices, y anlisis de la msica de mujeresmsica clsica y popular compuesta por mujeres. Empleando un enfoque de grounded theory, las sesiones fueron audio grabadas y transcritas. Se analizaron las transcripciones cada semana para contenido temtico usando un proceso de cdigo analizando intensamente los datosmuchas veces oracin por oracin o frase por fraseencontrados en notas de campo, intrevistas u otros documentos (Amir, 1996). Ah los datos tambin consistan en materia creativa engendrada durante las sesiones incluyendo poesa y lrica original para canciones. Esta presentacin proveer los resultados de este anlisis. 4. Participantes / Afiliacin / Cmo contactar Elizabeth York, Ph.D., MT-BC Directora, Programa de Terapia de Msica Escuela de Msica Petrie (Petrie School of Music) Converse College 580 calle Main este (East Main Street) Spartanburg, Carolina del Sur, Estados Unidos 29302 (South Carolina, USA) 864-596-0166 (oficina) 864-596-9167 (fax) Elizabeth.York@converse.edu Maureen Hearns, MaEd, MT-BC Directora, Programa de Terapia de Msica Universidad Utah State 4015 Old Main Hill Logan, Utah 84322-4015

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Therapeutic songwriting approaches: Findings from an on-line survey of music therapy practitioners.
Felicity Baker - Tony Wigram - Katrina McFerran
ABSTRACT This paper presents the findings of an on-line survey investigating the songwriting practices of 419 music therapy practitioners from 29 countries. The 21 question survey sought information on the therapeutic aims and methods underpinning songwriting across six diagnostic groups: ASD, developmental disability, psychiatry, aged care, oncology/palliative care, and neurorehabilitation. DESCRIPTION Songwriting as a therapeutic intervention has received increasing attention in the field of music therapy over the past decade however the literature focuses predominantly on clinical outcomes rather than methods of practice. This paper presents the findings of an on-line survey which investigated trends in the songwriting practices of 419 music therapy practitioners from 29 countries. The 21 question survey sought information on the frequency of its use in practice, the goals underpinning the songwriting intervention, methods of implementation including context of therapy, number of sessions usually required to create songs, lyric and music creation techniques, and any involvement from other health professionals in the process. Data were compared across six diagnostic groups: ASD, developmental disability, psychiatry, aged care, oncology/palliative care, and neurorehabilitation using Chi-square and Fishers Exact tests. Results suggest that in general, the literature provides good representation for what is occurring in clinical practice although the data highlights that songwriting is frequently employed in developmental disability and ASD practice, with these diagnostic groups being underrepresented in the music therapy literature. The survey identified a) experiencing mastery, develop self-confidence, enhance self-esteem; b) choice and decision making; c) develop a sense of self; d) externalising thoughts, fantasies, and emotions; e) telling the clients story; and f) gaining insight or clarifying thoughts and feelings as the most common goal areas. Generally, songs were composed with individual clients in single sessions, with lyrics created prior to the music. Clinicians had a significant role in creating the music with improvised and pre-determined musical structures being equally employed. The analyses found significant differences across different diagnostic groups particularly with respect the number of sessions required to complete a song, approaches to composing lyrics and music, the context with which songwriting was employed, and the types of allied health professionals involved in the songwriting interventions. Felicity Baker, University of Queensland, Brisbane, Australia Tony Wigram, Aalborg University, Denmark Katrina McFerran, University of Melbourne, Australia

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Crossing Boundaries:Music Therapy Practice in a Multicultural World


Joseph Moreno - Joe Moreno
ABSTRACT Music therapy practice in the twenty-first century requires multiculturally developed practitioners.This workshop will focus upon music therapy experiential work in the musics of India and the Afro-American blues.These will serve as models of clinical applications in two distinct world music traditions. DESCRIPTION The twenty-first century age of globalisation requires multiculturally developed music therapists.National boundaries no longer infer cultural homogeneity and music therapists working anywhere must be prepared to work with clients from diverse musical and cultural backgrounds. This workshop will focus upon two distinct musical traditions ,the classical music of India and the Afro-American blues. While it requires prolonged study to master any musical genre,the fundamentals of any music can be learned in a short period.These two musics will serve as models for quick entry into new musical worlds and for creating related music therapy applications.The approaches to musical adaptation presented in the workshop can be applied by music therapists working with clients anywhere. The workshop will begin with an immersion into Indian classical music and present the basic elements of raga and tala.Participants will learn to sing a number of ragas as well as how to follow an eight beat tala.This will be followed by a group performance of a South Indian composition combining raga and tala. Specific music therapy applications to be explored will include group improvisation with raga selected tone bars as well as utilizing the raga structure as a base for personalized song composition. The second part of the workshop will present the basic elements of the blues.This will lead to group singing of the blues,in English and Spanish,as well as demonstrating how personalized blues lyrics can be created from issues shared by group members.Further therapy applications will include group improvisation with blues scale selected tone bars,as well as a group vocal arrangement of a blues with parts for three sections. To exemplify the cross-cultural diversity of music therapy today participants will see a video of a recent blues presentation in China.To bridge the cultural gaps,the participants spontaneously created a traditional Chinese dragon dance to the blues,the first blues dragon dance and a unique melding of two worlds. The workshop will conclude with the presenter sharing some of the challenges and rewards he has experienced in presenting music therapy in more than fifty countries, and a discussion of cultural challenges in music therapy shared by members of the group. Joseph Moreno,Professor Emeritus,Director Moreno Institute for the Creative Arts Therapies,Santa Fe,New Mexico,USA 5.English 6.Joseph Moreno 106 Michelle Drive Santa Fe,New Mexico 87501 USA Phone: 314-229-8598 Email:joem@maryville.edu 7.Joe Moreno is internationally recognized for his work in music and psychodrama as well as his extensive research into indigenous world music and healing traditions. He is author of the book "Acting Your Inner Music:Music Therapy and Psychodrama". 1. TITULO Cruzando Fronteras: Terapia Musical en un Mundo Multicultural 2. ABSTRACTO La prctica de la terapia musical en el siglo veintiuno requiere de practicantes que estn desarrollados en una manera multicultural. Este modo de trabajo se enfocar en la terapia musical del trabajo de experiencia en la msica en India y en los blues del Afro-Americano. Estos servirn como modelos de aplicaciones clnicas en dos mundos musicales distintos de tradicin. 3. TRADICIN El siglo veintiuno, era de globalizacin, requiere de terapeutas musicales desarrollados multiculturalmente. Las barreras nacionales ya no interfieren con la homogeneidad cultural y los terapeutas musicales en cualquier lugar deben de estar preparados para trabajar con clientes de diversidad musical y diferentes antecedentes. Este taller se especificar en dos tradiciones musicales distintas: la msica clsica de India y los blues Afro-Americanos. Mientras se requiere estudios prolongados para dominar cualquier gnero musical, los fundamentos de cualquier tipo de msica pueden ser aprendidos en un periodo pequeo. Estos dos tipos de msica servirn como modelos de rpida entrada a nuevos mundos musicales y para crear nuevas aplicaciones teraputicas de msica relacionadas. Los acercamientos a las adaptaciones musicales presentadas en el rea de trabajo pueden ser aplicadas por terapeutas musicales trabajando con clientes en cualquier lugar. El taller comenzar con una entrada a la msica clsica de India y presentara los elementos bsicos de raga y tala. Los participantes aprendern a cantar un nmero de ragas as como tambin cmo seguir con el octavo tiempo bala. Esto ser seguido por un grupo que presentar una composicin del sur de India combinando raga y tala. Las aplicaciones de terapia musical especficas que deban ser exploradas incluirn grupos improvisando con raga y tone bars seleccionados as como utilizando la estructura del raga como una 30 estructura base para composiciones de canciones personalizadas. La segunda parte del taller presentar los elementos bsicos de blues. Esto guiar a grupos cantando blues, en ingls y en espaol, as como la demostracin de cmo los lricos blues personalizados pueden ser creados por temas compartidos por miembros del grupo.

Aplicaciones teraputicas adicionales incluirn improvisaciones grupales con escala de blues seleccionada en el tone bar, as como un arreglo vocal de grupo de blues con parte para tres secciones. Para ejemplificar la diversidad cultural de la terapia musical hoy en da, los participantes vern un video de una presentacin de blues recientes en China. Para conectar el aliento cultural, los participantes espontneamente crearon un baile de dragn tradicional chino con los blues, el primer baile de dragn con blues y una conexin nica de dos mundos distintos. El taller concluir con el presentador compartiendo algunos de los obstculos y los beneficios que ha experimentados presentando terapia musical en ms de cincuenta pases, y una discusin de las amenazas culturales de la terapia musical compartida por los miembros del grupo. Joe Moreno es internacionalmente reconocido por su trabajo y psicodrama as como sus extensos estudios en el mundo de la msica indgena y las tradiciones curativas. l es el autor del libro Acting Your Inner Music: Music Therapy and Psychodrama

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Music Therapy in End-of-Life Care: University-Community Collaborations


Sandra L. Curtis - Lucanne Magill
ABSTRACT: Collaboration may be one of the most essential tools for healthcare in the new millennium. This presentation outlines the process undertaken by two music therapists from different backgrounds to establish effective collaborations between university and community hospice/hospital programs for successful grantwriting, service provision, and research. An effective collaboration protocol will be outlined, with participants provided opportunity to share ideas and experiences as they work through the protocol. DESCRIPTION: Collaboration may be one of the most essential tools for healthcare in the new millennium. Far more than a mere partnership, it involves a new way of thinking with the creation of new common goals and innovative practices. It offers advantages of a deeper understanding of the issues, increased resources and expertise, improved service delivery and research design, and empowerment of those involved. This presentation outlines an effective collaboration process undertaken by two music therapists working in end-of-life care. The model for successful collaboration presented here developed out of a year-long process of multifaceted collaborations. This involved: collaboration on the part of each music therapist in their independent interdisciplinary work; collaboration between the two music therapists working together for the first time and coming from different backgrounds, experiences, and philosophies; and ultimately, collaboration between the university and community in clinical service provision, grantwriting, and research in End-of-Life Music Therapy Care. All aspects of these collaborations will be outlined, along with the advantages and disadvantages. The final protocol with its underlying critical components of interdependence will be presented, including an explanation of the following: the mutual respect and opportunity for formal and informal interaction; newly-created professional endeavours; flexibility particularly in terms of blurring of roles; collective ownership of goals; and a reflection on the process by all stakeholders before and throughout the collaborative endeavour. After reviewing their experiences, the process, and the recommended protocol for collaboration based on these experiences, the presentation will conclude with opportunity for small group work in which participants can apply this protocol and its underlying principles to their own work situations. While developing directly out of Hospice/End-of-Life experiences, the collaborative protocol is easily applicable to anyone interested in multidisciplinary work, be it clinical practice, grantwriting, and/or research. PRESENTER NAMES & AFFILIATIONS: Dr. Sandra L. Curtis, MT-BC, MTA Director, School of Music University of Windsor Dr. Lucanne Magill, MT-BC Assistant Professor, School of Music University of Windsor CONTACT INFORMATION: Dr. Sandi Curtis, MT-BC, MTA Director, School of Music University of Windsor 401 Sunset Windsor, Ontario, Canada N9B 3P4 Telephone: 519-253-3000 ext. 2796 (Work); 519-945-1971 (Home) Fax: 519-971-3614 Email: scurtis@uwindsor.ca MINI BIOGRAPHY OF PRESENTERS (30 words max each): Sandra L. Curtis, Ph.D., MT-BC, MTA, Director of the School of Music at the University of Windsor, is an internationally-trained music therapist with over 20 years' experience in clinical practice, teaching, research, and multidisciplinary/multi-institutional collaborations. Lucanne Magill, D.A., MT-BC, Assistant Professor, School of Music, University of Windsor, has been practicing music therapy in cancer and palliative care for 35 years and has conducted research, published and practiced in various multi-disciplinary collaborations.

TITULO: Musicoterapia Para El Cuidado Al Final De Vida: Colaboraciones de la Universidad-Comunidad ABSTRACT: La Colaboracin debe ser una de las herramientas esenciales en el tratado de la salud del nuevo milenio. Esta presentacin resume el proceso emprendido por dos msicos terapeutas con diferentes backgrounds para establecer efectivas colaboraciones entre la Universidad 32 y la Comunidad Hospicio/Hospitales, en un exitoso programa para becas de escritura, el suministro de servicios y trabajos de investigacin. DESCRIPCION:

La Colaboracin debe ser una de las armas esenciales para el tratado de la salud en el ltimo milenio. Mucho ms en una sociedad en la que hay nuevas formas de pensar con la creacin de nuevas metas comunes y prcticas innovadoras. Ofrece ventajas en el entendimiento de profundos problemas, el incremento de recursos y habilidades; mejora la entrega de servicios y diseo de investigacin otorgando mayores ventajas a los que estn envueltos. Esta presentacin resume el proceso emprendido por dos msicos terapeutas trabajando en el cuidado para el final de vida. El modelo para la exitosa colaboracin presentada aqu fue desarrollado en el proceso de un ao en una multifactica colaboracin. Este envuelve: colaboracin de parte de cada musicoterapeuta en su independiente trabajo multidisciplinario; colaboraciones entre dos musicoterapeutas de diferentes backgrounds, con diferentes experiencias y filosofas, trabajando por primera ves juntos; y finalmente, colaborando entre la Universidad y la Comunidad en suministrar servicios clnicos, becas para escritura y trabajo de investigacin en musicoterapia en el tratado del final de vida. Todos estos aspectos de colaboracin sern resumidos, incluyendo sus ventajas y desventajas. El protocolo final va a ser presentado con los componentes crticos subyacentes, incluyendo una explicacin de los siguientes: respeto mutuo y oportunidad de interaccin formal e informal; nuevos esfuerzos profesionales; flexibilidades, particularmente en trminos de enturbiamientos de desempeo; metas de propiedades colectivas; y la reflexin del proceso de todos los interesados, antes y durante el esfuerzo de colaboracin. Despus de revisar sus experiencias, el proceso, y el protocolo recomendado para las colaboraciones basadas en experiencias, la presentacin finalizar con la oportunidad de formar pequeos grupos de trabajo en donde los participantes puedan aplicar el protocolo y los principales subyacentes de sus propias situaciones de trabajo. Durante el desarrollo directo de experiencias en Hospicios/Final de vida, las colaboraciones de protocolo son fcilmente implicadas a cualquier interesado en trabajos multidisciplinarios, ya sean en prcticas clnicas, becas de escrituras y/o trabajos de investigacin.

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El uso de la musicoterapia para nios con implante coclear. Vietas


Juanita Eslava Meja
Resumen de la presentacin: Se presentarn vietas de estudios de caso sobre el uso de la musicoterapia para nios con implante coclear buscando mostrar estrategias teraputicas usadas, conclusiones, recomendaciones para el abordaje, y vacos actuales en la investigacin. Descripcin: Los musicoterapeutas han venido trabajando con la poblacin de personas con implante coclear hace ya aos. Un referente importante es todo el trabajo realizado con adultos donde se han descrito las formas de procesamiento del estmulo musical de personas con sorderas post-linguales e intervenciones clnicas de diversos tipos. Sin embargo muy poco se encuentra en la literatura musicoterapeutica referente al trabajo con nios con sorderas pre-linguales para quienes la msica es un elemento totalmente nuevo como todo lo relacionado con el sonido. Slo el conocer cmo se relacionan con el sonido es en si mismo un tpico al que podramos dedicarle mucho tiempo. Sera obsoleto aproximarse a los problemas de esta poblacin desde el nico referente del adulto con sordera post-lingual ya que los supuestos mismos de los que se parte son totalmente distintos. Por esto en la prctica clnica, la autora ha ido desarrollando una forma de trabajo flexible que responda a las necesidades de cada nio, y que realmente aporte al trabajo en equipo. Debe ejercerse precaucin al generalizar el abordaje indicado con esta poblacin, pues aspectos como la programacin misma del implante, el tiempo de implante, factores ambientales y relacionales de cada nio van a generar diferencias en la forma como se relacionan con los elementos musicales y el terapeuta en el proceso. Se analizarn algunas vietas de estudios de caso, haciendo nfasis en las distintas maneras de relacionarse con la msica, el abordaje, la posibilidad de empoderamiento que se genera dentro del proceso musicoterapeutico y los aportes para el nio fuera de los aspectos tradicionales de expectativas desde la rehabilitacin neurolgica en su concepcin ms clsica. Title: The use of Music Therapy for children with cochlear implants. Case vignettes. Summary of the presentation: This presentation will focus on case vignettes working with children with cochlear implant. Emphasis will be placed on therapeutic strategies, conclusions, recommendations, and unexplored themes on research. Description: Over the past few years, music therapists have been working with persons with cochlear implants. An important referent is the work with post-lingual deaf adults. In this work, it has been possible to document their processing of the musical stimuli as well as the description of techniques for intervention. Nevertheless few has been written on the subject of music therapy interventions with pre-lingual deaf children for whom music and sound are novel elements. How they might relate to this new element its itself a very interesting topic that can not be approached from the perspective of the post-lingual adult. On the clinical practice of the author she has been working on the development of a flexible music therapy approach, which can be responsive to the childs needs, and the needs of the team. It is the authors opinion that generalizations about how to work with the population should be taken with caution. Aspects such as the implants programming, the time the child has had the implant, as well as some environmental and relational aspects, might influenced the way children will relate to music, musical elements and the therapist in the music therapy process. Under this frame, some case vignettes will be examined with special emphasis on different ways of relating to music observed by the music therapist, the approach used with each one, the possibilities for empowerment generated on the music therapy process, and the general gains for the children beyond the traditional expectations of neurological rehabilitation on its more classical conception Nombre y datos de los autores: Juanita Eslava Meja. Master in Music Therapy. Temple University (Philadelphia, USA) Contacto: Juanita Eslava Meja. Direccin: Carrera 64 #98-26 Bogot, Colombia. Telfonos: (571)5277569, (571)2530004. E-mail: juanaeslava@hotmail.com Minibiografa del presentador: Juanita Eslava realiz el Masters equivalency in Music Therapy en Temple University. Docente de la Maestra en Musicoterapia de la Universidad Nacional de Colombia. Musicoterapeuta del Instituto Colombiano de Neurociencias.

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Investigacin y intervencin experimental sobre la aplicacin de musicoterapia en las escuelas


Marina Carloni
MINISTERIO DE CULTURA Y BIENES CULTURALES ISMEZ - Instituto Nacional para el Desarrollo de la Musica en el Sur Con el apoyo de Presidencia de la Repblica Italiana Con el patrocinio de Presidencia del Consejo de Ministros Regin Campania Provincia de Npoles Municipalidad de Npoles Ministerio de Educacin En cooperacin con Instituto-Fundacin Banco di Napoli ISFOM Instituto de formacin en musicoterapia, Npoles Los nios aprenden lo que viven FFFORTISSIMO La musica de los nios Investigacin y intervencin experimental sobre la aplicacin de musicoterapia en las escuelas Concepcin y Responsable del proyecto Marina Carloni Asesoramiento y Direccin Cientfica Renato De Michele, Elena De Rosa, Diana Facchini Coordinacin organizativa y institucinal Sonia Teramo y Roberta Travaglino Secretariado ISMEZ/Onlus, Roma Anna Maria Finocchi ISMEZ/Onlus Via degli Scipioni, 175 00192 Roma Tel. 06 3242440 Fax: 06 3244318 e-mail: info@ismez.org IMPLEMENTACION DEL PROYECTO Enero 2007 Mayo 2007; Noviembre 2007 Mayo 2008 Talleres de expresin sonora orientados hacia la musicoterapia para estudiantes de tres clases en cada una de las cuatro escuelas incluidas en el programa (2007 2008) Encuentros peridicos de los miembros del personal Encuentros peridicos de los musicoterapeutas, supervisores y coordinadores EVALUACION Cada actividad de los talleres est observada por medio de diagramas y formularios especficos Encuadre sonoro musical del grupo hecho por los musicoterapeutas Formulario de encuesta sobre el recorrido de los talleres hecho por los musicoterapeutas Formulario de observacin hecho por el observador Verificacin por parte del supervisor Cuestionarios de ingreso y de salida Pruebas psicolgicas especficas El proyecto de evaluacin permite gestionar las elecciones operativas de manera que se pueda Facilitar la implementacin de los objetivos previstos de in35 stigacin y terapia ve Comprobar la capacidad del proyecto de cumplir con las exigencias de la poblacin de pacientes y del territorio de implementacin

Fomentar la comunicacin y compartir los resultados Identificar las marcas de direccin y evaluacin del proceso, impacto y resultados.

TALLERES Objetivos de los talleres activar la comunicacin sonora (abilidad de identificar y desarrollar su proprio vivido sonoro) activacin sonora como expresin y puesta en juego de su proprio Ego y sus afectos en relacin a los dems adquirir habilidades de produccin sonora de forma creativa tomar conciencia de gestos sonoros y gestos comunicativos estimular habilidades sonoros musicales para mejorar la integracin y cohesin grupal El grupo de trabajo en cada escuela est compuesto por 1 musicoterapeuta y 2 co-terapeutas que trabajan con los estudiantes segn protocoles especficos 1 profesor de referencia que organiza y coordina los dems profesores involucrados en los proyectos y mantiene los contactos con las familias 1 profesor tutor que participa a los talleres como observador participante 1 supervisor cientfico que 1) interactua con las escuelas 2) supervisa los grupos de musicoterapeutas. ISMEZ ISMEZ/Onlus, una organizacin no lucrativa para el desarrollo de la musica, naci en 1979 segn la Ley n.589/79. A lo largo de estos 29 aos ha desarrollado actividades en sectores distintos como investigacin, estudio y documentacin, formacin y perfeccionamiento, editorial y congresos, multimedia, promocin y circulacin, asociacin con instituciones nacionales y internacionales. ISMEZ/Onlus est comprometida a llevar a cabo su misin por medio de cooperacin con otras organizaciones, identificacin y implementacin de proyectos y iniciativas inovadoras cuyos objetivos, programas, aspectos organizativos y artisticos se dirigen hacia la difusin de la cultura musical, en un sentido muy largo. Esta organizacin est comprometida a llevar a cabo proyectos como: Investigacin en musicoterapia, catalogacin y estudio de los archivos musicales, estudios sociales culturales, tamben con la ayuda de programas informatcos Cursos de capacitacin y actividades para jovenes artistas, que clasifican y estudian archivos musicales, musicoterapeutas, operadores musicales y culturales Publicacin de investigaciones y estudios sobre la organizacin musical, temas de musicologia y sociales culturales y de la revista online SuonoSud Exhibiciones y congresos CD y multimedia Promocin de jovenes artistas Los proyectos en musicoterapia implementados por ISMEZ/Onlus han sido destacados y perspicaces, tanto por la formacin como por la documentacin. Dos cursos de formacin en musicoterapia de tres aos han sido organizados junto con el Conervatorio Pblico Musical Umberto Giordano , Doctores en medicina que trabajan en estructuras publicas, Estructuras Publicas por la Salud (ASL), Provincia de Foggia, Universidad de Foggia, Facultad de Medicina. Estas dos experiencias han sido particularmente inovadoras por lo que se refiere a los programas cientficos y didacticos y tambin a los partenariados. Estos cursos experimentales han sido reconocidos oficialmente por el MIUR (Ministerio de Educacin, Universidades y Investigacin) y la Universidad de Foggia ha otorgado el primero Diploma Academico en Musicoterapia por la primera vez en nuestro Pas. ISMEZ/Onlus publica los trabajos cientifcos de expertos internacionales en musicoterapia junto con estas actividades didacticas.

MINISTRY OF CULTURAL ACTIVITIES AND HERITAGE ISMEZ - National Institute for Music Development in the South With the support of Presidency of the Italian Republic Under the patronage of Presidency of the Council of Ministers Campania Region Province of Naples Municipality of Naples Ministry of Education In co-operation with Banco di Napoli Institute-Foundation ISFOM Music Therapy Training Institute, Naples Children learn what they experience FFFORTISSIMO
36

Musicoterapias Psicodinmicas y Neurociencias: un dilogo posible.


Prof. Lic. Mt. Gabriela Wagner
Resumen La oposicin entre las Musicoterapias Psicodinmicas y las Neurolgicas es notable en Latinoamrica. El contexto multifactico socioeconmico y cultural determina una variedad de discursos para la comprensin de la msica, el sonido y la singularidad afectiva del cuerpo de la interaccin musicoterapeutica. Este dualismo operativo se sustenta en las consideraciones epistemolgicas freudianas que sin duda alguna fueron visionarias en el momento de su formulacin. Se considera que el aporte de las Neurociencias, casi un siglo despus, complementa a lo ya descubierto por la prctica clnica musicoteraputica de orientacin psicodinmica. En esta presentacin nos proponemos un acercamiento entre las hiptesis psicodinmicas y el estudio cientfico del cerebro palpitante. Descripcin Partiendo de ejemplos clnico y su abordaje desde las musicoterapias psicodinmicas. Nos planteamos mostrar algunos de los aportes de concepto dualista de cuerpo biolgico y ertico asi como la formulacin de aparato psquico propuesto por Freud. Ambos son ampliamente utilizados por los musicoterapeutas para comprensin de la msica y el sonido, como estructurantes auditivos de la interaccin humana multisensorial. Basndonos en los supuestos psicoanalticos de los modelos ms difundidos, Benenzon de Musicoterapia, (MBMT), Analitico de Mary Priestley, de los desarrollados con la mirada puesta en la Escuela Francesa de Psicoanlisis y los que denominaremos de sincretismo cultural, se expondrn los aportes a una visin humanstica de la unicidad de cada proceso musicoteraputico. En este trabajo se considera que la experiencia personal de generacin de ideas no verbales sonoro-musicales y los procesos de formalizacin hacia una estructura esttica es nica y subjetiva. Su dinmica y sus gradientes de intencionalidad en la evocacin, creacin y composicin sonoro-musical-verbal, su lugar en el reconocimiento de los otros, de uno mismo y la construccin del nosotros sern analizados desde una concepcin integradora. Un acercamiento a la comprensin de nuestra mente musical, basada en el estudio de la maravillosa funcionalidad compleja de nuestro cuerpo, enriquece las respuestas a las preguntas propuestas por Freud, neurlogo y psicoanalista,. A partir de la experiencia personal de investigar el discurso corporal-sonoro-musical de la interaccin de la sesin de musicoterapia individual y grupal en Psiquiatra y Neurologa de adultos, se propone un dilogo necesario entre los conocimientos que derivan de ambos. Referencias bibliogrficas: Benenzon, Rolando, Gainza, Violeta H. de, Wagner,(2007) Gabriela La nueva musicoterapia Ed. Lumen, Buenos Aries, Argentina Kandel, Erik R.(2007) En busca de la memoria El nacimiento de una nueva ciencia de la mente: el nacimiento de una nueva ciencia de la mente. Ed. Katz, Buenos Aires, Argentina Levitin, Danil J.(2006) This is you Brain on Muisc. The Science of a Human Obsession. Ed. Penguin Books Ltd. Londres, Inglaterra Llins, RodolfoR. (2003) El cerebro y el mito del yo. El papel de las neuronas en el pensamiento y el comportamiento humanos. Ed. Grupo Editorial Norma, Bogot, Colombia Montilla Lopez, Pedro (2003) El cerebro y la msica. Ed. Universidad de Crdoba, Crdoba, Espaa

Title: Psychodynamic Music Therapies and Neurosciences: a possible dialogue Author: Prof. Lic. Mt. Gabriela Wagner Abstract The opposition between Psychodinamic and Neurological Music Therapies is remarkable in Latin America. The multicultural socio-economic context determines a variety of methods for the understanding of music, sound and the uniqueness of the emotional-corporal interaction in music therapy. This dualism is based on operational considerations of the Freudian epistemology which were without a doubt visionary at the time of their formulation. We consider that the contribution of neurosciences, almost a century later, is complementary to clinical music therapy practice. In this presentation we propose a relationship between the psychodynamic assumptions and the scientific study of "a pulsating brain". Description This paper begins with clinical examples and their possible elaboration considering different psychodynamic music therapy approaches. The dualistic concept of biological and erotic body and dynamic Psychic Apparatus proposed by Freud are the main contributions, widely used to understand music and sound as structuring hearing in the multisensory human interaction. Later developments reconsidered these ideas as basis of the assumptions of the most widespread psychoanalytic models such as the Benenzon of Music Therapy, (MBMT), the Analytical (Mary Priestley), the ones developed with an eye on the French School of Psychoanalysis and those we call sincretic cultural approaches. We will review contributions to humanistic vision about the uniqueness of each music therapy process. This paper considers the personal experience of generating nonverbal sound-music ideas and the processes that lead to a formal aesthetic structure as unique and subjective. Its dynamics and their gradients in the intentional evocation, creation and composition of sound-musical verbal ideas, and its place in the recognition of oneself, others and the construction of "we" will be analyzed from an integrated point of view. 37 A broader understanding of our musical mind based on the study of the wonderful complex functionality of our body, enriches the answers to questions proposed by neurologist and psychoanalyst Freud.

From personal experience of investigating the "body-speech-sound musical interaction of the music therapy session" both with individuals and groups in adult psychiatry and neurology, we propose a necessary dialogue between these areas of knowledge. Referencias bibliogrficas: Benenzon, Rolando, Gainza, Violeta H. de, Wagner,(2007) Gabriela La nueva musicoterapia Ed. Lumen, Buenos Aries, Argentina Kandel, Erik R.(2007) En busca de la memoria El nacimiento de una nueva ciencia de la mente: el nacimiento de una nueva ciencia de la mente. Ed. Katz, Buenos Aires, Argentina Levitin, Danil J.(2006) This is you Brain on Muisc. The Science of a Human Obsession. Ed. Penguin Books Ltd. Londres, Inglaterra Llins, RodolfoR. (2003) El cerebro y el mito del yo. El papel de las neuronas en el pensamiento y el comportamiento humanos. Ed. Grupo Editorial Norma, Bogot, Colombia Montilla Lopez, Pedro (2003) El cerebro y la msica. Ed. Universidad de Crdoba, Crdoba, Espaa Gabriela Wagner, profesora de Musicoterapia Clnicas e Investigacin en la Universidad del Salvador, Facultad de Medicina, Buenos Aires. Trabaja en el Departamento de Salud Mental del Hospital Universitario de Buenos Aires, Facultad de Medicina, en Departamento de Salud Mental de CEMIC, (Centro de Educacin Mdica e Investigaciones Clnicas) y en la Fundacin Dr. F.Benam para el Quemado y en la Fundacin Benenzon de Bs. As. Fue presidente y es miembro de ASAM, Asociacin Argentina de Musicoterapia y es Presidente de la Federacin Mundial de Musicoterapia. Email: gwagner@fibertel.com.ar Gabriela Wagner, is Professor in Clinical Music Therapy and Research at the Universidad del Salvador, Faculty of Medicine, Buenos Aires, Argentina. Former Head of the Music Therapy Training program, she teaches in graduate and postgraduate courses. She also works at the Department of Mental Health at the University Hospital at the School of Medicine of the University of Buenos Aires. at the Psichiatry Department of CEMIC (Medical Education and Clinical Research Centre) and Dr. F. Benam Fundation for the Burned. She is former President and member of the Argentine Association of Music Therapy. She is President of the World Federation of Music Therapy. Email: gwagner@fibertel.com.ar

38

LA MSICA Y OTRAS ARTES EN LOS TALLERES DE ZUNZN


Ana Sara Llanes Torna
Resumen Se expone la experiencia de "El arte y los nios: una opcin para la transformacin sociocultural" (Zunzn), un proyecto comunitario y psicoteraputico a travs de la integracin de la msica y otras manifestaciones del arte, en el Barrio "La Timba", en la Ciudad de la Habana. The experience of The art and the children: an option for the sociocultural transformation (Zunzun) is exposed, a communitarian and psychotherapeutic project through the integration of music and others arts, in the neighborhood of La Timba, in Havana City. DESCRIPCIN "El arte y los nios: una opcin para la transformacin sociocultural" (Zunzn), es un proyecto sociocultural comunitario en el Barrio "La Timba", en la Ciudad de la Habana, auspiciado por la Organizacin No Gubernamental Zunzn (Schweizer Entwicklungsprojekte in Kuba) y el Teatro Nacional de Cuba. En l comparten una experiencia de transformacin un equipo multidisciplinario integrado por investigadores, psiclogos y artistas, y un grupo de nios con riesgos sociales y diferentes problemticas psicolgicas. En la ponencia se exponen las metodologas y los resultados de este proyecto donde, a travs de talleres que emplean la msica y otras manifestaciones del arte como recursos psicoteraputicos y educativos, se pretende el desarrollo integral de estos nios, de sus valores morales, de cualidades estticas y el despertar de sensibilidades para apreciar y criticar su entorno como sujetos de cambiosociocultural en su comunidad. Ana Sarai Llanes [mailto:gllanesd@infomed.sld.cu] Titulo: LA MSICA Y OTRAS ARTES EN LOS TALLERES DE ZUNZN. AUTORA: MsC. Ana Sara Llanes Torna. Psicloga y Especialista de msica del Proyecto "El arte y los nios: una opcin para la transformacin sociocultural" (Zunzn). Teatro Nacional de Cuba

39

Group Analysis and Music Therapy: what have they to offer each other?

Alison Davies
Abstract Music therapists are increasingly drawing on well established psychoanalytic theory such as Klein and Winnicott in their work with individuals. What body of theory do we use to think about group music therapy? This paper will consider the theories of Foulkes and others in group analysis and how we might use their thinking in group music therapy. Description S.H.Foulkes, the founder of group analysis wrote: I was not the composer who wrote the music , but the conductor who interpreted it, the conductor who brought it to light. I remember saying to my colleagues: I feel like a conductor but dont know in the least what the music is which will be played This quotation from Foulkes indicates that there might be interesting parallels between the analysis of group dynamics in analytic talking groups and the non-verbal participation in music therapy groups. In this paper I would like to consider aspects of group analytic theory such as free floating discussion, the Matrix, active participation and the group as a whole and show how these dynamics can be conceptualised in terms of music therapy. My experience in running analytic talking groups and music therapy groups, as well as receiving supervision from group analysts, has convinced me that both modalities have much to offer each other. Valuable observations of the similarities and the differences can add to an understanding of human communication both verbally and nonverbally in a group setting. It is often hard for music therapists to describe in a theoretical way what is happening in a music therapy group. I hope by looking at aspects of group analytic theory, music therapists may find new ways of conceptualising dynamic musical communication. This in turn may also interest group analysts who, in my experience, are becoming increasingly interested in looking at the process of music therapy in groups. Biography: Alison Davies is a music therapist and a psychoanalytic psychotherapist.She has workied mainly in mental health and has specialised in running analytic groups both in music therapy and psychotherapy. She currently lectures on the music therapy trainings at Anglia Ruskin University, Cambridge and the Guildhall School of Music, London, where she is responsible for the experiential training of students.She also has a private psychotherapy practice.

40

AIReM Structura Interna (Ass. Ital. Registro de Musicoterapeutas).


DE MICHELE, RENATO - MOSCA, LUCIANA - CRUPI, MARIA CONCETTA
ABSTRACT Se ilustra AIReM Registro y sua structura interna. Esto ragrupa 139 Musicoterapeutas con diploma in MT escuelas de Italia (da ISFOM Napoles). DESCRIPTION (300 palabras): AIReM (Ass. Ital. Registro de MT) fu fundado en el 2003. En el Registro sois presentes Musicoterapistas diplomados en el Conservatorio publico de Foggia U. Giordano, que continua en el Master de I nivel en la mesma institucion. - AIReM Consilio Directivo: Presidente: Renato DE MICHELE. Vicepresidente: Luciana MOSCA. Secretaria: Maria Concetta CRUPI. - AIReM Consilio Directivo (extenso) 2007-2010: T. Belmonte, G. Berna, R. Bianco, D. Costantino, M.C. Crupi, R. De Michele, E. De Rosa, D. Facchini, D. Fortugno, L. Galeano, E. Gianfrancesco, M.G. Iannaccone, L.L. Mosca. - Fundado en el 2003 por M.A. Appio, G. Berna, M.D. DAddetta, R. De Michele, D. Facchini, D. Fortugno, B. Maselli (primero CD). Musicoterapeutas en el AIReM son organizados en 2 niveles (+1 de Supervisores): AMT (Assistant MT): un curso de 3 anos de formacion [1000h minimum] in 4 Areas: a) Musicoterapica [50%], b) Musical [25%], c) Medica [12,5%], d) Psycologica [12,5%], + 100h de practica en instituciones publicas + 75 h supervision estudiante-centrado (1/1) en instituciones publicas, o en institutiones clinicas convencionadas, o en el privado-social;; SMT (Musicoterapeutas supervisinados): mesmos criterios que AMT + 300 h supervision estudiante-centrado en las mismas instituciones. auto-experiencia [* Los criterios de formacion son explicados en el libro: La Scuola Napoletana. Un modello per la formazione in Musicoterapia, Isfom, Napoles, 2002, curado por G. Di Franco]. - Criterios de paso el un curso de formacion de MT: diploma superior (o competencia musical atestiguada). - MT MODELES: los 5 reconocidos modelos de WFMT, +sistemico, +humanistico. PRESENTADORES DE MICHELE, RENATO: Presidente AIReM, Supervisore MT. MOSCA, LUCIANA: Vicepresidente AIReM, profesora MT ISFOM (Napoles, It.). CRUPI, MARIA CONCETTA: Secretaria AIReM, profesora MT ISFOM (Napoles, It.). MINI BIOGRAPHY OF PRESENTERS: (30 words maximum per person). DE MICHELE, RENATO: AIReM President (Ital.Ass.MT Register), Music therapist, MT Supervisor, Psychiatric Cohordinator in UOSM 52, public structure within DSM (Mental Health Dept.) in ASL Napoli 1. MOSCA, LUCIANA: AIReM Vicepresident, MT ISFOM Teacher (Naples, It.). CRUPI, MARIA CONCETTA: AIReM Secretary, MT ISFOM Teacher (Naples, It.). INFO DE MICHELE, RENATO: 113, via Salv. Rosa 80136 Napoles ITALIA (+39) 081 5440105 (+fax) demikar@alice.it airem.it@gmail. com . TITLE: AIReM Internal Structure (Ital. MT Register Association). ABSTRACT (50 words): We illustrate AIReM Association Register and its internal structure. It collects 139 Italian Music Therapists trained in Italian MT schools (mainly coming from ISFOM Naples). DESCRIPTION: (300 words): AIReM (Ital. MT Register Association) was founded in November 2003. The Register comes out from ISFOM training experience (MT Training Institute Naples, founded by G. di Franco and D. Facchini) since 1989. In AIReM there are also music therapists coming from the first University I Level degree in Italy (U. Giordano State Academy of Music Foggia), now continuing in a public I Level Master in MT. - AIReM Core Board: President: Renato DE MICHELE. Vicepresident: Luciana MOSCA. Secretary: Maria Concetta CRUPI. - Core Board (enlarged) 2007-2010: T. Belmonte, G. Berna, R. Bianco, D. Costantino, M.C. Crupi, R. De Michele, E. De Rosa, D. Facchini, D. Fortugno, L. Galeano, E. Gianfrancesco, M.G. Iannaccone, L.L. Mosca. - Founded in 2003 by M.A. Appio, G. Berna, M.D. DAddetta, R. De Michele, D. Facchini, D. Fortugno, B. Maselli (first Core Board). Music Therapists in AIReM are organized in 2 levels* (plus Supervisors one): AMT (Assistant MT): a 3-years training course [1000h minimum] in 4 Areas: a) Music Therapical [50%], b) Musical [25%], c) Medical [12,5%], d) Psychological [12,5%], + 100h practise in public clinical institutions + 75 hours student-centered MT Supervision (1 client - 1 student, each one) in public or in public-conventioned clinical institutions; self experience preferred; SMT (Supervisioned Music Therapist): same criteria above reported + 300h of student-centered supervision in the same kind of institutions; self-experience preferred.
1 [* Training criteria defined in the volume: La Scuola Napoletana.4Un modello per la formazione in Musicoterapia, Isfom, Naples, 2002, edited by G. Di Franco]. - ENTRANCE CRITERIA in a MT Course: Secondary school and musical diploma (or verified musical competence).

- MT MODELS: AIReM referring principles contemplate all the 5 recognised WFMT models, +systemic, +humanistic Mt ones, even though ISFOM has a psychodynamical approach. PRESENTER NAME(S) AND AFFILIATION(S): Please list your credential, as you would like them to appear in the program. DE MICHELE, RENATO: AIReM President (Ital. Ass. MT Register), MT Supervisor. MOSCA, LUCIANA: AIReM Vicepresident, MT ISFOM Teacher (Naples, It.). CRUPI, MARIA CONCETTA: AIReM Secretary, MT ISFOM Teacher (Naples, It.). CONTACT INFORMATION: DE MICHELE, RENATO: 113, via Salv. Rosa 80136 Naples ITALY (+39) 081 5440105 (+fax) demikar@alice.it airem.it@gmail.com .

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Beneath the School Songs: Musical Behavior of the Elderly in JapanMariko Hara
Abstract This in-depth interview research shows that musical behavior of the elderly is restrained by social appropriateness. The preference of the clients is often regarded as important criteria for the choice of music. However, in order to give voices to the disadvantaged, it is suggested to emphasize the socio-cultural aspect behind. Description In the music therapy practice for the elderly, choice of music is one of the important concerns for therapists. As for the situation in Japan, it is often ambiguous, and the music generally preferred by the elderly are often applied without enough examination. Since the author had been feeling the substantial need to examine the situation behind their preference, the in-depth interview survey was conducted to research their musical behavior, drawing upon the methodology Tia Denora applied in Music in Everyday Life, where she explores the use of music by interviewing women of all ages. The interview data was analyzed applying the phenomenological inquiry. Consequently, two pairs of key concepts were distilled; the Old Favorites expressed with the attachment versus the Nowadays Songs expressed with the detachment, and the Serious Songs recognized as socially correct versus the Not-Serious Songs, socially incorrect. These concepts were discussed from Denoras perspective regarding musics power as technology of self and device of social ordering. Consequently, the Old Favorites are considered to be the devices to regulate and constitute themselves, and the Serious Songs to be appropriate with their socio-cultural situation. Reconsidering the music therapy practice in Japan with these results, the important factor was found that the elderly regulate themselves to adjust their socio-cultural situation even in the music therapy setting. One of the cause of these attitudes can be referred as attributed to the influence of the radical change of culture happened in the middle of 19th century. Can this phenomenon be seen only in one country, or in other music therapy setting in the world as well? This study might suggest the importance of considering beneath the surface of musical behavior, to give voices to the disadvantaged. The author would like to discuss on this topic with colleagues of the world. 1. Ttulo de la presentacin Por debajo de las canciones escolares: Comportamiento musical de la Tercera Edad en Japn. 2. Abstract Esta investigacin de entrevistas profundas demuestra que el comportamiento musical de la tercera edad es limitado por aspectos sociales adquiridos. La preferencia de los pacientes es siempre considerada un criterio importante para la eleccin de la msica. Sin embargo, para dar voz a lo silenciado, se sugiere enfatizar los aspectos socio-culturales que se encuentran por detrs. 3. Descripcion En la prctica de musicoterapia con ancianos, la eleccin de la msica es una de las preocupaciones ms importantes para los terapeutas. La situacin en Japn es por lo general ambigua, y la msica preferida de los ancianos es generalmente requerida sin un examen suficiente. Desde que el autor sinti la substancial necesidad de evaluar la situacin por sobre sus preferencias, las entrevistas profundas condujeron hacia la investigacin de los comportamientos musicales, aplicando la metodologa de Tia Denora publicado en Msica en la vida de todos los das, donde ella explora el uso de la msica entrevistando a mujeres de todas las edades. Los datos de la entrevista fueron analizados aplicando la investigacin fenomenolgica. Como consecuencia, dos pares de conceptos claves fueron encontrados; los Favoritos Viejos expresados con cario, versus las Canciones actuales expresadas con desapego. Y las Canciones Serias reconocidas como socialmente correctas, versus las Canciones No-Serias, socialmente incorrectas. Estos conceptos son planteados desde la perspectiva de Denora considerando el poder de la msica como la tecnologa del self y el dispositivo del orden social. En consecuencia, los Favoritos Viejos son considerados los dispositivos para regular y constituirse en ellos mismos, y las Canciones Serias en ser apropiadas con sus situacin socio-cultural. Reconsiderando la musicoterapia en Japn con estos resultados, el factor importante descubierto fue que los ancianos se controlaban para adaptar sus situaciones socio-culturales incluso en las sesiones de musicoterapia. Una de las causas puede ser atribuida a la influencia del cambio radical de la cultura ocurrido a mediados del siglo 19. Puede este fenmeno ser encontrado en un pas solamente, o tambin en otras sesiones de musicoterapia en el mundo? Este estudio sugiere la importancia de tener en cuenta lo que hay por debajo de la superficie del comportamiento musical, para dar voz a lo silenciado. Al autor le gustara debatir sobre este punto con otros colegas del mundo.

5. Presenters name Mariko Hara 6. Contact Information Mariko Hara E-mail: dffyw207@kcc.zaq.ne.jp
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Address: 8-17 Nishiashiya Ashiya-City Hyogo 6590085 Japan Phone&Fax: 81-797-23-2194 7.Mini Biography(29/30 words) Received B.A. in Music with concentration in Music Management at Manhattanville College, NY. Currently pursuing a doctorate with focus on Music Therapy for the Elderly at Kobe University, Japan.

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Examination of the effect of music therapy on cancer patients before/after operations


Takiko Takahashi,
ABSTRACT: The effect of music therapy on cancer patients was examined with random sampling. The anxiety level was significantly lowered and the pain after surgery was significantly reduced by music therapy. DESCRIPTION: Patients with digestive organ cancer were randomly assigned to two groups, namely, the music therapy group (18 patients) and the control group (20 patients), to examine the effect of music therapy on patient anxiety using the State Trait Anxiety Inventory, on pain using the visual analog scale, on systolic blood pressure and on stress level measured by the cortisol level in saliva samples. The anxiety level of the patients in the music therapy group was significantly lower than that of the patients in the control group (p<0.01), demonstrating the effectiveness of music therapy for reducing anxiety. Moreover, the pain felt by the patients after the surgery was significantly reduced by music therapy (p<0.001). Cortisol levels showed marked individual differences, which suggests that cortisol level is not a suitable indicator of the effect of music therapy. The results indicated the potential of music therapy for reducing anxiety in patients undergoing cancer operations. PRESENTER NAMES AND AFFILIATION :. Takiko Takahashi, Ph.D. Registered Music Therapist (Japan) Professor, College of Cross-Cultural Communication and Business, Shukutoku University CONTACT INFORMATION : Takiko Takahashi 1-134-17 Kariya-cho Ushiku-shi Ibaraki 300-1235 Japan Tel. & Fax : +81-29-873-4983 E-mail : takiko722@ybb.ne.jp 7. MINI BIOGRAPHY OF PRESENTER : 30words Graduated the Kunitachi College of Music in 1975 Master grade from the University of Tsukuba in 1994 Ph. D from Juntendo School of Medicine in 2005

1. TTULO DE PRESENTACIN: Examinacin del efecto de la terapia de msica en los pacientes de cncer antes y despus de las operaciones. 2. RESUMEN: El efecto de la terapia de msica en los pacientes de cncer fue examinado con muestras aleatorias. El nivel de ansiedad baj considerablemente y el dolor despus de la operacin se redujo significativamente mediante la terapia de msica. 3. DESCRIPCIN: Los pacientes con cncer de los rganos digestivos fueron asignados aleatoriamente en dos grupos, denominados grupo de terapia de msica (18 pacientes) y el grupo de control (20 pacientes), para examinar el efecto de la terapia de msica sobre la ansiedad de los pacientes utilizando el Inventario de los Rasgos del Estado de Ansiedad (State Trait Anxiaety Inventory), sobre el dolor utilizando una escala anloga visual, sobre la presin sangunea sistlica y el nivel de estrs medido mediante el nivel de cortisol en las muestras de saliva. El nivel de ansiedad de los pacientes en el grupo de terapia de msica fue significativamente inferior que el de los pacientes de control (p<0.01), demostrando la efectividad de la terapia de msica para reducir la ansiedad. Adems, el dolor sentido por los pacientes despus de la operacin fue reducida considerablemente mediante la terapia de msica (p<0.001). Los niveles de cortisol mostraron diferencias individuales, lo que sugiere que el nivel de cortisol no es un indicador adecuado del efecto de la terapia de msica. Los resultados indicaron el potencial de la terapia de msica para reducir la ansiedad en pacientes que estn llevando a cabo operaciones de cncer.

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Need-oriented, emotional-communicative dialogue in music therapy with coma/apallic syndrome patients in neurological early rehabilitation
Karin Boeseler
Physicians have only limited access to the emotions experienced by coma patients. Coma/apallic syndrome patients have reported experiences such as oceanic experiences, claustrophobia, changing body awareness and typical near-death experiences like tunnel phenomena and out-of-body states. In early rehabilitation often they exhibit mimicry and other physical symptoms such as fear grimacing, high tension, profuse sweating, which indicate stress, pain, fear, and being overwhelmed; all of which only suggests the individual trauma. Music therapy often triggers a response of these patients which indicates a need for human contact, relaxation, comfort, consolation, love, and a friendly environment. To what extent can a physical music-therapeutic dialogue achieve an impact on the emotions and needs of these patients? Since 1997, a group of coma/apallic syndrome patients in the Protestant Hospital of Oldenburg, some in remission, have been under observation and videotaped while in need-oriented music therapy. The emotions and needs of coma/apallic syndrome patients may be deduced from their body language exhibited during the music therapy treatment. The emotional state of the patients was altered to relaxation, happiness, curiosity. From the patients emotions displayed, their needs can be categorized depending on the severity of the coma and the progress of remission/convalescence (development of the self). Both, the analysis of the patients emotions and the need-oriented music-therapeutic dialogue are recorded by observation and video documentation. This material can be made available for further research. Abstract: Need-oriented, emotional-communicative dialogue in music therapy with coma/apallic syndrome patients in neurological early rehabilitation The emotions and needs of coma/apallic syndrome patients may be deduced from their body language exhibited during the music therapy treatment. The emotional state of the patients was altered to relaxation, happiness, curiosity. From the patients emotions displayed, their needs can be categorized depending on the severity of the coma and the progress of remission/convalescence. Both, the analysis of the patients emotions and the need-oriented music-therapeutic dialogue are recorded by video documentation. Contact: Karin Boeseler Music Therapist Saarstrasse 11 26121 Oldenburg Germany Boeseler@web.de

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Personality, Mood, and Music Use in a High-Cognitive Demand Occupation: Implications for Music Therapy in Organizations
Teresa Lesiuk
BRIEF ABSTRACT: Evidence is provided for the need of music therapy in organizations. In order for music therapists to devise interventions for improving quality-of-work life, factors of personality and mood trends, in relation to music use, need to be examined. Findings will be presented from research that examined personality type, trait mood and use of music listening by 32 professional computer information systems developers (CISD) from two different IT environments in south Florida. Este trabajo ofrece evidencia de la necesidad de tener la terapia de la msica en las organizaciones. Para que las terapistas de la msica puedan desear intervenciones para mejorar la calidad de la vida en el trabajo, se necesita examinar factores como la personalidad y las tendencias de humor de los trabajadores en relacin con su uso de la msica. Se presentar los hallazgos de una investigacin que examin los tipos de personalidad, las caractersticas del humor, y los padrones de escuchar a la msica de 32 desarolladores de sistemas informticas de cmputo en entornos tecnolgicos ubicados en el Sur de la Florida.

FULL ABSTRACT: This research paper provides evidence for the need of music therapy in organizations. Positive moods, via music use, have been shown to improve quality of work-life in the high-stress occupation of computer information systems development (CISD) (Lesiuk, 2005). Pleasant mood responses (i.e., positive affect) enhance creative problem-solving ability and increase performance on tasks. Further, an information processing model, referred to as the Affect Infusion Model, suggests that affect or mood is most influential when tasks are complex and require highly generative processing. The designing of computer systems requires developers to generate ideas beyond information given and in the process moods influence what is retrieved and used from individuals memory. Preferred music use has implications for CISD quality-of-work and the well-being of the developers. However, in order for music therapists to devise interventions for improving quality-ofwork, factors of personality and mood trends, in relation to music use, need to be examined. Findings are presented from research that examined personality type, trait mood and use of music listening by 32 professional computer information systems developers (CISD) from two different IT environments in south Florida. Prevalence of basic personality type preferences were measured with the Myers-Briggs Type Inventory (MBTI). Trait mood, alias individuals emotional make-up, was measured with the Multiple Affect Adjective Check List (MAACL). Results from this exploratory pilot survey indicate a significant prevalence of Introversion, Thinking, and Judging types in CISD with greater negative trait mood for Introversion and Feeling types. Music listening trends by type are reported, including findings such that Extraverts listen to music twice as much than Introverts, and Feeling types twice as much as Thinking types. The findings and recommendations have important implications for managers of computer information systems developers, may be generalized to similar work contexts, and, as well, have implications for music therapy practice in organizations.

Esta investigacin ofrece evidencia de la necesidad de la terpia de la msica en la organizaciones. Se han comprobado que los estados de nimo positivos, estimulados por el uso de la msica, mejoran la calidad de vida laboral en la estresante trabajo del desarrollo de sistemas informacionales de cmputo (CISD) (Lesiuk, 2005). Respuestas afectivas positivas (i.e. afecto positivo) aumentan la habilidad del trabajador de resolver los problemas y aumentan la calidad de su trabajo. Adems, un modelo de procesimiento de la informacin, llamado el Modelo de Infusin Afectiva, sugiera que el afecto o el nimo es ms influyente cuando los trabajos son complejos y requieren procesimiento complejo. Disear un sistema de computacin require que los programadores generan ideas ms alla de la informacin ya conocida y en este proceso los nimos influyen que encuetra y utiliza us individuo de su propia memoria. El uso del tipo preferido de la tiene implicaciones para las calidad del trabajo CISD y el bienestar de los programadores. Sin embargo, para que los terapistas de la msica puedan disear intervenciones que mejoran la calidad del trabajo, factores como la personalidad y las tendencias en el nimo, en relacin a la msica, tienen que ser examinados. Los hallazgos estn presentados de una investigacin que examin el tipo de personalidad, el nimo base (trait mood) y el escuchar de la msica en 32 programadores profesionales de sistemas informacionales de cmputo en el sur de la Florida. Se medi la prevelencia del tipo bsico de personalidad con la Myers-Briggs Type Inventory (MBTI). Animo bsico, o la constitucin emocional de los individuos, se medi con la Multiple Affect Adjective Check List (MAACL). Resultados de esta encuesta pilota de exploracin indican la prevelencia de tipos Introvertidos, Pensantes, y Juzgadores en CISD con mayor anim negativo para los Introvertidos y Sensibles. Las tendencias por tipo estn reportados, incluyendo hallazgos como que los Extravertidos escuchen a la msica dos veces ms que los Introvertidos y los tipos Sensibles dos veces ms que los tipos Pensantes. Los hallazgos y recomendaciones tienen implicaciones importantes para gerentes de sistemas informacionales de cmputo y puedan ser til en otros contextos, y, tambin, tienen implicaciones para la prctica de la terpia de la msica en organizaciones. CONTACT INFORMATION: Teresa Lesiuk, Ph.D., MT-BC Assistant Professor, Music Therapy Frost School of Music 5807 Ponce de Leon Blvd., 201-D University of Miami Miami, Florida 33146

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Tel. 305-284-3650 Fax: 305-284-3901 Email: tlesiuk@miami.edu

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Radical Musicism in the Clinical Practice of Music Therapy


Izumi Futamata
ABSTRACT The goal of this research is to propose Radical Musicism as a concept for use in clinical practice of music therapy. In music therapy based on Radical Musicism, the behavioral pattern of the client and purpose of therapy are examined from a musical standpoint.

DESCRIPTION The goal of this research is to propose Radical Musicism as a concept for use in clinical practice of music therapy as well as to examine its significance. Sound has been considered indispensable to music. However, there are times when elements other than sound play important roles in music, and such elements can not necessarily be classified as secondary (Bruscia, 1998). Thus, I will define music anew as follows: integrated stimuli which continuously change, and that which influences human reaction and behavior. Music has an intention of influencing positive emotions such as pleasure, happiness, aesthetic sensation, pleasant feeling of excitement, comfortable tranquility, a sense of unity, a sense of accomplishment, etc., as well as actions. In music therapy based on Radical Musicism, the behavioral pattern of the client and purpose of therapy are examined from a musical standpoint. The term music used herein refers to the preceding definition. Music therapy based on Radical Musicism is practiced placing importance on the following points: 1) Conduct an assessment in terms of whether the clients presenting conditions (including daily life activities) is musical. 2) Aim to make the clients overall behavior (including daily life activities) musical. 3) Use any method of intervention necessary in order to achieve the goal. 4) For the purpose of achieving the goal, it is necessary for the general behavior of the music therapist to be musical.

Title of presentation Ttulo de la presentacin: El Musicalismo Radical en la prctica clnica de la musicoterapia ABSTRACT (Spanish) Resumen: El objetivo de esta investigacin es proponer el Musicalismo Radical como un concepto en la prctica clnica de la musicoterapia y estudiar su signifidado. En la musicoterapia basada en el Musicalismo Radical los patrones de comportamiento del cliente y el propsito de la terapia se examinan desde un punto de vista musical. DESCRIPTION (Spanish) Descripcin: El objetivo de esta investigacin es proponer el Musicalismo Radical como un concepto en la prctica clnica de la musicoterapia as como examinar su significado. Tradicionalmente el sonido se ha considerado indispensable para la msica. Sin embargo, a veces, cuando otros elementos desempean un papel importante en la msica, no pueden ser considerados necesariamente como elementos secundarios (Bruscia, 1998). Por lo tanto, definir nuevamente la msica del siguiente modo: estmulos integrados que cambian contnuamente y que influyen en las reacciones y el comportamiento humanos. La msica tiene la intencin de influir en las emociones positivas tales como el placer, la felicidad, las sensaciones estticas, la excitacin placentera, la tranquilidad confortable, el sentimiento de unidad, el sentimiento de realizacin, etc. y tambin en las acciones. En la musicoterapia basada en el Musicalismo Radical los patrones de comportamiento del cliente y el propsito de la terapia se examinan desde un punto de vista musical. El trmino msica usado aqu hace referencia a la definicin anterior. La musicoterapia basada en el Musicalismo Radical se practica haciendo hincapi en los siguientes puntos: 1) Realizar una valoracin en trminos de si las circunstancias del cliente (incluyendo sus actividades en la vida cotidiana) son musicales o si no lo son. 2) Tomar como objetivo el hacer que todo el comportamiento del cliente (incluyendo sus actividades en la vida cotidiana) sea musical. 3) Utilizar cualquier medio de intervencin que pueda resultar til para alcanzar el objetivo. 4) Con el propsito de alcanzar los objetivos, es necesario que el comportamiento general del terapeuta musical sea tambin un comportamiento musical. PRESENTER NAME(S) AND AFFILIATION(S): Izumi Futamata MA, MEd , RMT(Japan) Toho College of Music CONTACT INFORMATION: Name: Izumi Futamata Address: 2-17-5-1001 Hongo Bunkyo-ku Tokyo, Japan Fax: 03-5684-5213 email: ttn2jd32cf@mx9.ttcn.ne.jp MINI BIOGRAPHY OF PRESENTERS:

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2007/ Board member of Japanese Music Therapy Association 1996/ Nordoff-Robbins Music Therapy Australia, Graduate Diploma 1996/ Tsukuba University, Master of Education 1991/ Kunitachi College of Music, Master of Arts

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The Influence of Preferred Music on the Anxiety of Indonesian Pregnant Women


Johanna Natalia
ABSTRACT: This research investigated the influence of preferred music on the anxiety of pregnant women. There were no significant differences between the experimental (30 Ss) and control groups (29 Ss) in the State-Trait Anxiety Inventory scores (Spielberger, 1977). However, there was significant positive feeling in the experimental group (p 0.001). DESCRIPTION : This research investigated the influence of preferred music on the anxiety of pregnant women from the 33rd week of pregnancy until delivery. 59 pregnant women were divided into experimental and control groups. The experimental group of 30 pregnant women attended the group meeting at the maternity centre and listened to preferred music at home. The control group of 29 pregnant women only attended the group meeting at the maternity centre. The results revealed that there were no significant differences between the experimental and control groups in gestational age, Apgar scores, the babys birth weight, or in the state and trait anxiety scores of the State-Trait Anxiety Inventory (Spielberger, 1977). However, there was significant difference in feelings from before to during, and from before to after listening to music in the experimental group (p 0.001). In general, most of pregnant women in both two groups felt anxious during their pregnancy. The most pressing worries they experienced were the health of themselves and the foetus, the process of delivery, and the pain of delivery. However, the level of anxiety of the two groups was not significantly different. The level of anxiety of the experimental group and the control group was moderate to very low. There are some reasons related to the Indonesian culture to account for the moderate to very low level of anxiety of the pregnant women in this study: traditional philosophy, strong religious atmosphere, living with extended family that give high level of social support, strong beliefs in traditional values that are reflected in traditional ceremonies for pregnant women such as the Tingkeban, etc. . PRESENTER NAME : Johanna Natalia CONTACT INFORMATION : Name : Johanna Natalia Address : Jl. Pasar Besar 35 Malang 65118 Jawa Timur INDONESIA Telephone : +62 31 298 1300 Fax : +62 31 298 1301 E-mail : johanna_natalia@ubaya.ac.id n_nod@yahoo.com 6. MINI BIOGRAPHY OF PRESENTER : Johanna Natalia is lecturer at the Faculty of Psychology, University of Surabaya, Indonesia. This presentation is her thesis that was supervised by Associate Professor Denise Grocke, PhD, RMT, MT-BC, FAMI.

1. TTULO DE LA PRESENTACIN: La influencia de la msica preferida en la ansiedad de mujeres embarazadas indonesias 2. EXTRACTO: Esta investigacin investig la influencia de la msica preferida en la ansiedad de mujeres embarazadas. No haba diferencias significativas entre los grupos experimentales (30 Ss) y de control (29 Ss) en las cuentas del inventario de la ansiedad del Estado-Rasgo (Spielberger, 1977). Sin embargo, all estaba la sensacin positiva significativa en el grupo experimental (p? 0.001). 3. DESCRIPCIN: Esta investigacin investig la influencia de la msica preferida en la ansiedad de mujeres embarazadas a partir de la 33ro semana del embarazo hasta entrega. dividieron a 59 mujeres embarazadas en grupos experimentales y de control. El grupo experimental de 30 mujeres embarazadas assisti a la reunin de grupo en el centro de maternidad y escuch la msica preferida en el pas. El grupo de control de 29 mujeres embarazadas assisti solamente a la reunin de grupo en el centro de maternidad. Los resultados revelaron que no haba diferencias significativas entre el experimental y los grupos de control en edad del gestational, cuentas de Apgar, el peso del nacimiento del beb, o en las cuentas de la ansiedad del estado y del rasgo de la ansiedad del Estado-Rasgo inventory (Spielberger, 1977). Sin embargo, all estaba la diferencia significativa en sensaciones de antes a durante, y de antes despus a escuchar la msica en el grupo experimental (p? 0.001). En general, la mayora de mujeres embarazadas en ambos dos grupos se sentan ansiosas durante su embarazo. El presionar se preocupa los experiment era la salud de s mismos y del feto, el proceso de la entrega, y el dolor de la entrega. Sin embargo, el nivel de la ansiedad de los dos grupos no era perceptiblemente diferente. El 1 5 nivel de la ansiedad del grupo experimental y del grupo de control era moderado a muy bajo. Hay algunas razones relacionadas con la cultura indonesia para explicar el moderado al nivel muy bajo de la ansiedad de las mujeres

embarazadas en este estudio: filosofa tradicional, atmsfera religiosa fuerte, viviendo con la familia extendida que dan el alto nivel de la ayuda social, la creencia fuerte en los valores tradicionales que se reflejan en las ceremonias tradicionales para las mujeres embarazadas tales como el Tingkeban, el etc.. 5. NOMBRE DEL PRESENTADOR: Johanna Natalia 6. INFORMACIN DEL CONTACTO: Nombre: Direccin De Johanna Natalia: Telfono De Jl. Pasar Besar 35 Malang 65118 Jawa Timur INDONESIA: fax +62 31 298 1300: +62 31 298 1301 E-maices: johanna_natalia@ubaya.ac.id n_nod@yahoo.com 7. MINI BIOGRAFA DEL PRESENTADOR: Johanna Natalia es conferenciante en la facultad de psicologa, universidad de Surabaya, Indonesia. Esta presentacin es su tesis que fue supervisada por profesor de asociado Denise Grocke, PhD, RMT, MT-BC, FAMI.

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Principios y prctica del entrenamiento musical para personas que han recibido implante coclear.
Kate Gfeller
RESUMEN Este programa delinear (a) una visin general de la investigacin de percepcin musical en personas con implante coclear y rehabilitacin; (b) implicaciones para los principios y prctica para el entrenamiento de percepcin y disfrute de msica entre adultos y nios quienes usan implante coclear; y (c) ejemplos de materiales de entrenamiento. DESCRIPCION Los implantes cocleares (I.C.) son dispositivos electrnicos diseados para ayudar a personas con prdida aural severa o profunda con comunicacin oral. La mayora de personas que reciben el I.C. logran beneficios notables en comprensin del habla en silencio en slo pocos meses post coneccin (Wilson 2000). Desafortunadamente, la investigacin revela que las personas que reciben I.C. carecen significantemente de precisin de tono y timbre, an despus de uso extenso. Adems, los recipientes frecuentemente describen la calidad tonal como discordante, estridente, anormal, o ruidosa (Gfeller et al., 1997, 1998, 2000, 2002, 2004, 2005, 2006; McDermott, 2004; Kong et al., 2004). Por consiguiente, muchos recipientes de I.C. encuentran inaceptable o menos satisfactorio escuchar o participar en la msica. Ya que la msica es un gnero artstico tan prevalente, una potente va de comunicacin y un marcador social en toda sociedad, la mala percepcin o disfrute de msica puede tener un impacto negativo en la integracin social y la calidad de la vida (Gfeller et al., 1998, 1999; 20000. Aunque los implantes cocleares no son idealmente apropiados para la transmisin de sonidos musicales, algunos recipientes de I.C. han aprendido a renovar su placer en la msica. Estudios sobre plasticidad cerebral (Ryugo, Limb, & Redd, 2000) indican que los seres humanos pueden aclimatarse a estmulos no tan ptimos; estudios sobre rehabilitacin aural revelan factores que pueden aumentar la comunicacin hablada (Robinson & Summerfield, 1996). Estudios investigativos que examinan el entrenamiento musical, ilustran esos aspectos de la msica ms dispuestos a la rehabilitacin, al igual que mtodos de entrenamiento que son tan eficientes como efectivos. Estos estudios esclarecen el desarrollo de principios para rehabilitacin aural, a la vez sugeriendo contenido ms eficaz y efectivo y mtodos para utilizarse en entrenamiento musical. Esta presentacin ofrecer un resumen de resultados claves de investigacin, delineando implicaciones prcticas para terapia musical con adultos y nios quienes usan implantes cocleares. E. NOMBRE DE LA PRESENTADORA Y AFILIACIONES Kate Gfeller, Ph.D. RMT, - Catedrtica Distinguida F. Wendell Miller, Facultad de Msica, Departamento de Patologa del Habla y Audiologa, Centro Investigativo Clnico de Implante Coclear de Iowa, Departamento de Otorrinolaringologa, The University Of Iowa, Iowa City, EE.UU. F. MINI - BIOGRAFIA Kate Gfeller es Catedrtica Distinguida en Msica y Patologa del Habla y Audiologa en la Universidad de Iowa. Su investigacin tocante a percepcin musical recibe fondos de los Institutos Nacionales de Salubridad (National Institutes of Health)

A. TITLE OF PRESENTATION- Principles and Practices for Music Training of Cochlear Implant Recipients B. ABSTRACT- This program will include a) an overview of research on music perception of cochlear implant recipients and aural rehabilitation; b) implications for principles and practices for training music perception and enjoyment of adults and children who use cochlear implants; and c) examples of training materials. C. DESCRIPTION -Cochlear implants (CI) are assistive hearing devices designed to help persons with severe to profound hearing losses with spoken communication. The majority of CI recipients achieve remarkable benefit in speech reception in quiet within just a few months of hookup (Wilson, 2000). Unfortunately, research indicates that CI recipients are significantly less accurate than normal hearing listeners on perception of pitch and timbre, even after extended use. Furthermore, CI recipients often describe tone quality as harsh, shrill, unnatural, or noisy (Gfeller et al., 1997, 1998, 2000, 2002, 2004, 2005, 2006; McDermott, 2004; Kong et al., 2004). As a result, many CI recipients find music listening and participation unacceptable or less satisfactory with their implant than they did prior to hearing loss. Because music is such a prevalent art form, powerful form of communication, and social marker in every known society, poor music perception and enjoyment can have a negative impact on social integration and quality of life (Gfeller et al., 1998, 1999; 2000). Even though cochlear implants are not ideally suited to transmitting musical sounds, some CI recipients have learned to enjoy music once again. Studies on brain plasticity (Ryugo, Limb, & Redd, 2000) indicate that humans can acclimatize to less than optimal stimuli, and studies of aural rehabilitation reveal factors that can enhance spoken communication (Robinson & Summerfield, 1996). Research studies examining music training illustrate those aspects of music most amenable to rehabilitation, as well as training methods that are most efficient as well as effective. These studies inform the development of principles for aural rehabilitation, as well as suggest the most efficient and effective content and methods to be used in music training. This presentation will summarize key research findings, and then outline practical implications for music therapy with adults and children who use cochlear implants. E. PRESENTER'S NAME AND AFFILIATIONS 53 Kate Gfeller, Ph.D., RMT, - F. Wendell Miller Distinguished Professor, School of Music, Department of Speech Pathology & Audiology, Iowa Cochlear Implant Clinical Research Center, Department of Otolaryngology, The University of Iowa, Iowa City, Iowa, USA

F. MINI-BIOGRAPHY Kate Gfeller, Ph.D. is F. Wendell Miller Distinguished Professor in Music and Speech Pathology and Audiology at the University of Iowa. Her research regarding music perception is funded by NIH G. CONTACT INFORMATION Kate Gfeller, #1 Oakpark Court, Iowa City, Iowa, USA 52246 319-338-2310 or 319-356-2014 FAX: 319-384-6744 e-mail: Kay-gfeller@uiowa.edu

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Thinking music therapy from the perspective of biopolitics


Hiroko Miyake
Abstract This presentation intends to reconsider music therapy process from the perspective of biopolitical discussions by Foucault and Agamben. To develop current effort of seeking new model of music therapy such as culture-centered music therapy or music-centered music therapy, the author believes this discussion will help further development. Description According to Stige, perhaps this centurys most important theoretical development in recent music therapy has been turn to culture. The discourse of community music therapy unveils various dilemma about traditional models. Ansdell regards the current music therapy as discourses increasing meta-theoretical perspective. Therefore, music therapy has begun to orient the direction towards the equal collaboration from the hierarchical client-therapists musical relationships. Examining this relationship, however, discussing political issue immanent in music therapy seems to be needed. The concept biopolitics coined by Michel Foucault would be the clue. Biopolitics is the style of government that political power impact on all aspects of life. Italian philosopher Gorgio Agamben extends the concept of biopolitics and insisted that the theoretical and political distinction established in ancient Greek, between zoe and bios. Zoe means natural life, man as a living being. Bios means political life, man as a political subject. Music making process can be considered as the point which zoe and bios meet. In this context zoe represent vital aspect of music and bios, organizational aspect. There intervene political relationship inevitably. In the research of music therapy so far, the aspect of bios seems to have been exclusively discussed. For example, if we review the famous case of Edward by Nordoff, it can be interpreted as Nordoffs effort to reorganize Edwards zoe toward the realm of bios, in other words, civilization. Of course this process would be one of the important aspect in music therapy, however, there lacks the point of view from zoe. Currently, many discussions are made in search of new model of music therapy such as community music therapy or music-centered music therapy, however, these discussions tend to be the side of bios. To develop these efforts, I believe the thinking in the light of biopolitics is inevitably needed. 1. Titulo de la presentacin (8/15 palabras) Pensando a la musicoterapia desde la perspectiva biopolitica. 2. Abstract (47/50 palabras) Esta presentacin intenta reconsiderar el proceso musicoteraputico desde la perspectiva biopolitica planteadas por Foucault y Agamben. Para desarrollar el actual esfuerzo de buscar un nuevo modelo de musicoterapia como la musicoterapia centrada en la cultura o la musicoterapia centrada en la msica, el autor cree que esta argumentacin va a ayudar a investigaciones futuras. 3. Descripcin (298/300 palabras) Segn Stige, quiz el desarrollo terico mas importante de este siglo sobre musicoterapia ha sido volver a la cultura. El discurso de la comunidad musicoteraputica revela varios dilemas acerca de los modelos tradicionales. Ansdell considera la actual musicoterapia como discursos que incrementan las perspectivas meta-tericas. En consecuencia, la musicoterapia ha comenzado a orientarse hacia la igual colaboracin desde la jerrquica relacin musical paciente-terapeuta. Evaluando esta relacin, sin embargo, parece necesario discutir sobre inminentes temas polticos en musicoterapia. El concepto de Biopolitica acuado por Michel Foucault seria la pista. Biopolitica es el estilo de gobierno cuyo poder poltico impacta en todos los aspectos de la vida. El filosofo italiano Gorgio Agamben amplia el concepto de biopolitica e insiste en que las distinciones tericas y polticas se establecieron en la antigua Grecia, entre zoe y bios. Zoe significa vida natural, el hombre como un ser viviente. Bios significa vida poltica, el hombre como sujeto poltico. El proceso de realizacin musical puede ser considerado como el punto en el cual zoe y bios se encuentran. En este contexto zoe representa aspectos vitales de la msica y bios, aspectos organizacionales. All, inevitablemente, intervienen relaciones polticas. En investigaciones de musicoterapia, realizadas hasta el momento, los aspectos de bios nicamente han sido discutidos. Por ejemplo, si repasamos el famoso caso sobre Edward de Nordoff, puede ser interpretado como los esfuerzos de Nordoff por reorganizar el zoe de Edward hacia el dominio de bios, en otras palabras, civilizacin. Por supuesto este proceso ser uno de los aspectos importantes en musicoterapia, sin embargo, all carece el punto de vista desde zoe. Actualmente, muchos debates son realizados en la bsqueda de nuevos modelos de musicoterapia como musicoterapia comunitaria o musicoterapia centrada en la msica. Sin embargo, estas discusiones tienden a ser del lado de bios. Para desarrollar este esfuerzo, creo que pensar a la luz de la biopolitica es inevitablemente necesario. 5. Presenter name and affiliation Hiroko Miyake, Kobe University, Kobe City, Japan 6. Contact Information Hiroko Miyake
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658-0066 2-13-105, Uzumoridai, Higashinada-ku, Kobe City, Japan

Tel: 81-78-841-8138 E-mail: hiro-muf@bj9.so-net.ne.jp 8. Mini biography of presenters[30words] Received Masters degree in Kobe University focus on community music therapy. Currently conducting doctoral research on politics of music therapy. Also working as a music therapist with Developmental Disorders.

56

Music as a trans-cultural art of healing


Andrea Korenjak
ABSTRACT The paper presents two specific music therapeutic concepts in different cultural contexts as well as the implementation of the "Traditional Oriental Music Therapy in Austria. While in the occidental concepts of therapy the tendency prevailed to see music mainly as a conflictcentred and analytical medium which is supposed to offer the patient a first non-verbal access to the subconscious, TOMT believes that specifically arranged pieces of music mainly of Turkish origin can be understood as a healing medium in itself. DESCRIPTION The paper presents two specific music therapeutic concepts in different cultural contexts as well as the implementation of the "Traditional Oriental Music Therapy in Austria. While in the occidental concepts of therapy the tendency prevailed to see music mainly as a conflictcentred and analytical medium which is supposed to offer the patient a first non-verbal access to the subconscious, TOMT believes that specifically arranged pieces of music mainly of Turkish origin can be understood as a healing medium in itself. Since its founding (at the beginning of the nineteen eighties in Istanbul by Oru Gven) it has defended the archetypal effect of the Turkish Makamat (scale system) which is supposed to call forth universal organic and associative reactions and this independently of the cultural background of the recipient. The historic roots of TOMT lie on the one hand in the antique Greek concept of ethos, on the other hand shamanistic and Sufi approaches also play an important role. The few written documents oft TOMT include illustrations of a Turkish book by Haim Bey (1815 - 1868) as well as the historic document "Anonymus Gotha" whose origins supposedly date back to the 14th and 16th century. The lecture gives a closer look at the "Anonymus Gotha" and a briefly review of the musical ethos of classical antiquity. While we find many music theorists in the Orient who attempt to combine antique Greek components of music and medicine to create a highly sophisticated system of modes, zodiacal signs, elements, mixtures of body fluids, genders, hours and days of the week, the writings of Arabic scientists also influence the West especially in the Middle Ages and in the Renaissance but also as we can see to this day by the example of TOMT. In order to offer an acoustic and visual impression of how this system is used in therapy today, I would like to let the audience hear a short sequence of a recording of TOMT and show a short film sequence of therapeutic practice. PRESENTER Andrea Korenjak, Ph.D. Ph.D. M.A. B.A. University Mozarteum Salzburg, Austria born 1974 in Klagenfurt/Austria, graduated in musicology and psychology, since 2007 APART-scholar of the Austrian Academy of Sciences (Austrian Programme of Advanced Research and Technology) at the Department of Musicology at the Mozarteum University in Salzburg Contact: Andrea Korenjak Universitt Mozarteum Salzburg Abteilung fr Musikwissenschaft Mirabellplatz 1 5020 Salzburg AUSTRIA andrea.korenjak@moz.ac.at 0043 / (0) 676 / 61 480 16

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EL REDESCUBRIMIENTO DE S MISMO La Musicoterapia por la Esclerosis Mltiple La continuacin del tratamiento


LUCIA LUCIANA MOSCA - MARIA CONCETTA CRUPI
Sumario: La presentacin explicar la oportunidad de trabajar con los enfermos de esclerosis mltiple, que tienen grandes problemas de identidad enfermas. El aproche de la musicoterapia da la posibilidad contactar los sentimientos y la concepcin mental respecto a ellos y a su enfermidad, los permite de vivir los problemas en una diferente manera. Decripcin: El trabajo representa el progreso de dos aos de tratamiento en un enfermo y est particularmente apuntado sobre el estado depresivo del enfermo y su principal necesidad: tener alguin para hablar de su vida y sus sentimientos de impotencia. La musicoterapia dar estas posibilidades y este trabajo es particularmente fundado en las sesines individuales de la terapia, las que acertano todas las posibilidades comunicativas del proceso de musicoterapia. Principios teoricos: en mi proyecto los principios estn tomados desde un plan teorico- eclectico, que incluye: -Iso Concepcin y nocin Objeto Intermediario, desde la teoria de R. O. Benenzon. -teoria de improvisar -forma de cancin, desde la teoria de G. Di Franco TECNCAS -improvisacin -comparacin -reflejarse -imitacin -dramatisacin -musica y relax -creacdin de cancines PROPOSITOS GENERALES Tomando en consideracin la particular constelacin de sintomas expresados los microscopicos objetivos del recorrido estn principalmente centrados en la conservacin de la facultad motoria residua y despus en el desarollo y el mejoramiento de: -habilidades cognoscitivas -atencin -memoria -palabra -pensamiento -percepin de S mismo -Conciencia y expresin propia -Atencin para s mismo y para los otros -Comunicacin - Integracin del nuevo yo en la forma original Todos estos propositos habrn la ms importante finalidad dando al enfermo la posibilidad de percibir y aceptar la propia situacin con la eclerosis multiple. Author name: 1) LUCIA LUCIANA MOSCA affiliations: AIReM Vice President; music therapist (from 2001) in Neurological Rehabilitation Centre "Serapide"; and music therapist in Multiple Sclerosis centre AISM (Italian association of Multiple Sclerosis); MT Teacher in ISFOM (Naples, It.) 2) MARIA CONCETTA CRUPI, affiliations: AIReM Secretary (MT Italian Register), MT ISFOM Teacher (Naples, It.), music therapist of Centro Punto Parola, Prevenzione e Terapia della Balbuzie of Rome, Italy; consultant of AIBACOM (Associazione Italiana Balbuzie e Comunicazione, ONG), Italy. Contact information LUCIANA MOSCA, c/o MT office Musicante, C.so Umberto I P.co S. Giacomo 401, 80013 Casalnuovo di Napoli, Napoli, Italy, moscaluciana@libero.it Mini biography: LUCIA LUCIANA MOSCA pedagogist and music therapist; AIReM Vice President; music therapist (from 2001) in Neurological Rehabilitation Centre "Serapide"; music therapist in Multiple Sclerosis centre AISM (Italian association of Multiple Sclerosis); MT Teacher in ISFOM (Naples, It.); Scientific Secretary of 5th European music therapy Congress (Napoli April 20-24 2001). MARIA CONCETTA CRUPI, AIReM Secretary, MT ISFOM Teacher (Naples, It.), music therapist of Centro Punto Parola, of Rome, Italy; consultant of AIBACOM (Associazione Italiana Balbuzie e Comunicazione, ONG), Italy.
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THE REDISCOVERY OF SELF Music therapy for Multiple Sclerosis.

The continuation of treatment Abstract: The presentation will explain the opportunity to work with Multiple Sclerosis' clients, who have a big problem of ill's identity. The music therapy approach give the possibilities to contact the feelings and the mental conception about themselfs and their illness, allowed them to live the problems in a different way. Description: The work represents the progress of two years of treatment with a patient and it is particularly focussed on the depressive state of the client and her main need: to have someone to talk about her life and the feelings of powerless. Music therapy give he these possibilities and this work is particularly based on an individual sessions of therapy that centre all the clients communicative possibilities of the music therapy process. Theoretical principles In my project I use principles borrowed from an eclectic theoretical plan, which includes ISO concept and Intermediary Object notion, from R.O. Benenzons theory; Improvisational theory Song form, from G. di Francos theory Tecniques improvisation machting mirroring imitation dramatization music and relax song creation GENERAL PURPOSES Considering the particular constellation of symptoms expressed the macroscopic objectives of the whole route are first focused on the conservation of residual motor ability and therefore on the development and improvement of: Cognitive abilities - attention - memory - speech - thought Self perception Awareness and self expression Attention to himself and to the other Communication Integration of the new itself in the original form All of these purposes will have the final and most important aims to give to the patient the possibility to perceive and to accept her situation with MS. Author name: 1) LUCIA LUCIANA MOSCA, Presenter 2) MARIA CONCETTA CRUPI, Contact information LUCIANA MOSCA, c/o MT office Musicante, C.so Umberto I P.co S. Giacomo 401, 80013 Casalnuovo di Napoli, Napoli, Italy, moscaluciana@libero.it

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STUTTER AND MUSIC THERAPY, application of music therapy on stuttering adolescents.


MARIA CONCETTA CRUPI - LUCIA LUCIANA MOSCA
Abstract: The experimentation consisted in the application of Music Therapy on two male adolescents (12 and 13 years old) with diagnosis of mixed primary stammer, Punto Parola Centre clients. Another two male adolescents, with the same kind of stammer and without music therapy as treatment, were used as control group. Description: An initial clinical assessment of each adolescent (including control group) was provided by the psychologist of the centre. It consisted in a evaluation of verbal fluency, of anxiety level and of postural rigidity. The aims of application were to improve: verbal fluency; coordination and body movement; breath control; anxiety level. It was used an eclectic approach and the techniques were: listening as warm-up; association of gesture and sound; vocal improvisation; instrumental improvisation. It was used a MT protocol (elaborated by Gianluigi Di Franco) to observe the scales useful for the aims in each session. It was made a MT assessment consisting in a family interview, a receptive test and an active test (rhythmical, melodic and harmonic). The adolescents were treated for one year, in twice weekly sessions of about 40 minutes. At the end of experimentation the psychologist provided another clinical assessment of all clients (including group control) with the same tests of the beginning and a transversal evaluation of the MT protocol gave a further validation of the results.

Author name: 1) MARIA CONCETTA CRUPI, affiliations: AIReM Secretary (MT Italian Register), MT ISFOM Teacher (Naples, It.), music therapist of Centro Punto Parola, Prevenzione e Terapia della Balbuzie of Rome, Italy; consultant of AIBACOM (Associazione Italiana Balbuzie e Comunicazione, ONG), Italy. 2) LUCIA LUCIANA MOSCA: AIReM Vice President; music therapist (from 2001) in Neurological Rehabilitation Centre "Serapide"; and music therapist in Multiple Sclerosis centre AISM (Italian association of Multiple Sclerosis); MT Teacher in ISFOM (Naples, It.) Contact information: MARIA CONCETTA CRUPI, via Rodolfo Falvo n. 20, scala A3, 80127, Napoli, Italy, tel. 0815607304/ 3381131937, m. crupi@tiscali.it. Mini biography: MARIA CONCETTA CRUPI, AIReM Secretary, MT ISFOM Teacher (Naples, It.), music therapist of Centro Punto Parola, of Rome, Italy; consultant of AIBACOM (Associazione Italiana Balbuzie e Comunicazione, ONG), Italy. LUCIA LUCIANA MOSCA pedagogist and music therapist; AIReM Vice President; music therapist (from 2001) in Neurological Rehabilitation Centre "Serapide"; and music therapist in Multiple Sclerosis centre AISM (Italian association of Multiple Sclerosis); MT Teacher in ISFOM (Naples, It.); Scientific Secretary of 5th European music therapy Congress (Napoli April 20-24 2001) BALBUCENCIA y MUSICO TERAPIA, aplicacin de la musico terapia en los adolescentes.

Sumario: el experimento consiste en la aplicacin de la musico terapia en dos adolescentes ( de 12 y 13 aos) con diagnosis de simple balbucencia confusa, pacientes del Centro Punto y Palabra. Otros dos pacientes enfermos, con la misma tipologa de balbucencia y sin el tratamiento de musico terapia, han sido considerado como grupo de control. DESCRIPCIN: una primera comprobacin de estos adolescentes, (incluydo el grupo de control), ha sido testado por el psicologo del centro. Esto consiste en la valutacin de la fluencia verbal, del nivel de ansiedad y de la rigidez de postura. EL proposito de aplicacin donde mejorar: Fluencia verbal Coordinacin y movimiento del cuerpo Control del aliento 60 Nivel de ansiedad Ha sido usado un acercamiento eclctico y las tecnicas eran: Escuchar por acalorar

Asociacin del gesto Improvisacin instrumental Ha sido utilizado un protocolo de MT ( elaborado por Gianluigi Di Franco) para examinar la escala til por los pacientes en cada sessin. Ha sido hecho una valoracin que consiste en un entrevista, un test receptivo y un activo ( ritmico, melodico y armonico). Los adolescentes han sido tratado por un ao, en dos sessiones por semana de casi 40 minudos. Al final de la experimentacin lo psicologo ha dispuesto otra valoracin clinica de todos los clientes (incluydo el grupo de controlo) con los mismos testes de comienzo y una evaluacin transversal del protocolo de MT para dar otra valutacion de los resultados. NOMBRE DEL AUTOR: 1) MARIA CONCETTA CRUPI 2) LUCIA LUCIANA MOSCA CONTACTO INFORMACIN: MARIA CONCETTA CRUPI, via Rodolfo Falvo n. 20, scala A3, 80127, Napoli, Italy, tel. 0815607304/ 3381131937, m.crupi@tiscali.it.

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Lo vincular, Presencia del terapeuta y devenir otro con el


Alipanahi, Kamrn
Todo rgano natural posee, al lado de la subsistencia fsica que le corresponde como entidad material y energtica, una subsistencia semntica que trasciende a la primera y es de otro orden. Una palabra no subsiste fundamentalmente por la mera duracin de la tinta que la perpeta en un diccionario, sino que depende esencialmente de la existencia y la voluntad de un hablante y una ocasin, que la generan en cada pronunciamiento individual. Anlogamente los rganos vitales, o los organismos mismos, poseen una continuidad semntica que trasciende su subsistencia fsica particular y se manifiesta como pronunciamiento en cada acto procreativo. Freud, al descubrir la importancia ubicua de la represin, llama nuestra atencin sobre el hecho de que la interpretacin debe dirigirse hacia la bsqueda de un segundo sentido, inconciente y resistido.5 Abstracto: En sta presentacin aclaramos diferentes aspectos de lo vincular entre el terapeuta y el paciente y desvinculacin y revinculacin y devenir otro con otro (que es musicoterapeuta) en comparacin con hacer en ausencia del terapeuta atraves de msica. The link, presence of the therapist and becoming another one with him/her

Alipanahi, Kamran Ugarteche 3050 Capital Federal Buenos Aires, Argentina zorzallito@yahoo.com.ar The word Link was introduced to the camp of psi by Enrique Pichon Rivire (argentine psychiatrist and psychoanalyst) and is called vnculo in Spanish and lien in French. A word not only subsists by the sheer length of the ink that perpetuates it in a dictionary, but it depends also on the existence and the will of an author and an occasion that generated in every single word. Similarly vital organs, or the agencies themselves, have a semantic continuity that manifests itself on each procreative act. The same semantic continuity with the producer is being canalized in linkage between music therapist and patient in transference and counter transference that itself is part of the linkage. Freud, discovered the importance of repression, this calls our attention to the fact that the interpretation should be directed towards the unconscious mind and resistance of the patient, interpretation is dependent to what is called therapists external and also internal setting. (Internal setting or el encuadre interno) interpretation in music therapy has its effect on the linkage with the patient and is dependent to the therapists own psychic situation. Abstracto: In this presentation we clarified various aspects of the link between the therapist and the patient and untying and retying and become another one with the other (who is music therapist) compared to the absence of the therapist. Alipanahi, Kamrn APA (Asociacin Psicoanaltica Argentina), (Instituto ngel Garma), Buenos Aires, Argentina IUSAM (Instituto Universitario Salud Mental), (Dpto. Psicoanlisis de familia y Pareja) Buenos Aires, Argentina Universidad Favaloro, Dpto. Psiconeurofarmacologia ISEP (institut superior destudis psicolgics), (Dpto. Musicoterapia) Barcelona, Espaa

62

Whats the Point?


Sandra Brown
Abstract Singing with a patient on the day of a local terrorist bomb left me wondering what the point of music-making might be in emotionally painful circumstances. This paper explores how grief can be contained and transformed by the structures of music. It additionally draws on the theories of the Chilean psychoanalyst Matte-Blanco in considering how music, rather than removing us from sorrow and grief, can contain and make manageable potentially overwhelming emotional states. Description On the day on which a terrorist bomb exploded in London, I found myself in a session with a patient, singing together, in the experience of a deep sorrow which took me beyond the session and seemed to hold something other. Afterwards I was left with the question: what was the point of this particular music, what was its function? Was the music taking us away from the horror? Were we, like Nero, 'fiddling while Rome burned'? And how did this relate to the ongoing therapy with this patient? The paper is illustrated with video and audio extracts, and is in English. .. Titulo: Para qu Sirve? Resumen Cantando con un paciente el mismo da en que haba explotado una bomba terrorista en la zona, qued pensativa y me pregunt: para qu puede erver hacer la musica en circunstancias que provoquen el dolor emocional? Este artculo investiga cmo se puede contener y trasformar el dolor mediante las estructuras de la msica. Adems, se inspira en las teoras del psicoanalista chileno Matte-Blanco al proponer que la msica, en vez de alejarnos de la tristeza y del dolor, puede contener y hacer manejables estos estados emocionales potencialmente agobiantes. Este informe se presenta en ingls, con varios extractos audiovisuales y audios.

Resumen descriptivo El da mismo en que una bomba terrorista haba explotado en Londres, yo tena una sesin con un paciente. Cantbamos juntos, y experimentbamos una profunda tristeza, experiencia que me llev mas all de la sesin misma y que pareci contener un algo distinto, otro. Despus, qued pensativa y me pregunt: para qu serva esta msica en particular, cul era su funcin? La msica nos alejaba del espanto? Nos divertamos con la msica, como dicen de Nern, mientras la ciudad arda? Y cmo era ligado todo esto a la terapa actual de aquel paciente? Este informe se presenta en ingls, con varios extractos audiovisuales y audios. ..

Presenter Name and Affiliation Name: Sandra Brown Affiliation: Senior Music Therapist, Nordoff-Robbins Music Therapy Centre, London Contact Information Sandra Brown Nordoff-Robbins Music Therapy Centre 2 Lissenden Gardens London NW5 1PQ Tel: 020 7267 4496 Email: sandra.brown@nordoff-robbins.org.uk Mini Biography 6Sandra Brown is Senior Therapist and Senior Tutor at the Nordoff3Robbins Music Therapy Centre, London. She also trained and works privately as a Jungian analyst.

HISTORY AND CONTEMPORARY PRACTICE OF THERAPY WITH TURKISH MUSIC


Burin Uaner
ABSTRACT: This study will explain the music therapy methods during the old Turkish civilizations and Ottoman era by using the books, musical instruments and dances that were employed in relative period. Contemporary clinical study results in the field of modern medicine of the therapy with Turkish music in Europe and Turkey will be disclosed. INTRODUCTION: Turks have thousands of year history of therapy with music. The oldest ancestors of Turks benefited from music in healing along with the cult and spell (Uan, 2000). According to the written sources, the declared oldest music examples of Uygur Turks date 6000-8000 years back. Uygur Turks, being members of Shaman religion 3000 years ago, administered patient treatment sessions and rituals by singing and dancing (Gencel,2006). The school of Islam civilization, especially members of the mysticism school (Sufis) worked, used and defended music. Sufis mentioned that the mental and neural diseases were treated with music. Zekeriya Er-Razi (854-932), Farabi (870-950) and Ibni Sina (980-1037) who lived in this period have built the scientific foundations of the therapy with music (Somakc, 2003). The diseases were treated with music at hospitals during the old Turkish civilizations and Ottoman era. The first hospital using therapy with music was named Nureddin after the Seljuk Sultan Nureddin Zengi who built the hospital 900 years ago at am (1154). Furthermore, Fatih Cottage Hospital in stanbul (1470), Ulu Mosque and Cottage Hospital in Divrii (1228), Yldrm Beyazt Cottage Hospital in Bursa (1396), II. Beyazt Cottage Hospital in Edirne (1484), Gevher Nesibe Medicine School in Kayseri, Enderun Hospital (1478) and Sleymaniye Medicine School (1150 -1557) in Istanbul were the institutions where the therapy with music was used (Turabi, 2005).

Pentatonic sound system is used in therapy with Turkish music. Experiments show that this kind of music is especially helps autistic symptoms and has a curative effect. Research on pentatonic music indicates that alpha and theta wawes grow in the positive direction (TUMATA, 2007). Currently, music with therapy researches are conducted in e.g. pediatry, oncology, neurology, internal diseases and gynecology departments the Turkish universities and used as a subsidiary treatment instrument at the private institutions. Curriculum Vitae Burin Uaner is a research assistant at Gazi University Music Education Department. In 2007, Uaner started music therapy studies with the autistic children and painful patients in association with the Gazi University Faculty of Medicine.

HISTORIA DE TERAPIA CON MSICA TURCA Y SUS APLICACIONES HOY * Investigadora Burin UANER, Profesor Asociado Enver TUFAN

RESUMEN: En este estudio se explicaran la historia de terapia con Msica Turca y sus aplicaciones hoy. Los mtodos de terapia con msica en las Civilizaciones Turcas Antiguas y en el periodo Otomano sern explicados y se evaluaran los resultados de los estudios clnicos de la terapia con Msica Turca en el campo de la medicina moderna en la Europa y Turqua de hoy. Tambin, se explicaran los libros que contiene los temas de terapia con msica y fueron escritos hace cientos de aos y los instrumentos (especie de flauta, lad, instrumento como lad, instrumento de cuerda con un cuello largo, caa, bendir, etc.) y danzas que son usadas en la terapia con Msica Turca. INTRODUCCIN: Hay una historia de miles de aos para la terapia con msica en los turcos. Los mas antiguos antepasados de los Turcos tuvieron beneficio de la msica para recuperarse de las enfermedades junto a la adoracin y magia (Uan, 2000). Hay documentos escritos y arqueolgicos sobre este asunto. Muchos de los hospitales de terapia con msica que fueron construidos especialmente en el periodo Otomano aun existen hasta hoy (oban, 2005). Las investigaciones de hoy para la terapia con msica en las ramas de ciencia tales como pediatra, oncologa, neurologa, enfermedades internas, ginecologa, etc. Han sido hechas en las universidades en Turqua y ha sido usada en centros privados como medio suplementario. En 2007, se han comenzado estudios experimentales de terapia con msica en nios autsticos y pacientes con dolor, en la Facultad de Medicina de la Universidad Gazi.

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A Leanbh: Lessons from a school-based music therapy programme for Irish families
Karen Kelly MA - Alison Ledger MPhil
Abstract: This paper discusses the challenges of introducing an early intervention group music therapy programme within school settings in Limerick, Ireland. Strategies for maximizing involvement from teachers, children and their guardians are presented. The importance of creating alliances with teachers and addressing practical issues within school settings is emphasized. Description: This paper will share the presenters experiences of developing the A Leanbh programme for the Blue Box Creative Learning Centre, Limerick, Ireland. Informed by the Australian Sing and Grow Programme (Abad & Edwards, 2004), A Leanbh (Irish for darling child) is a group music therapy programme which aims to strengthen family relationships and to help develop childrens skills. Young children (0 -5years) and their parents (or other guardians) attend weekly sessions for a period of eight to ten weeks. Forty-five minute sessions include a range of music activities, in which children and their guardians are encouraged to participate together in singing, instrument playing, movement and relaxation to music. The paper will focus on the introduction of the A Leanbh programme to schools within disadvantaged areas of Limerick city. During 2006/2007, the programme was implemented in five preschools and one primary school at junior infant level (grade one). Session activities appropriate for children in this age group, a structured session format, and formal evaluation and reporting procedures were developed. Challenges to the successful implementation of the programme included promoting involvement from classroom teachers, encouraging and maintaining attendance and participation from guardians, meeting the childrens range of developmental needs, and fitting within established school routines and timetables. The presenters will highlight the crucial role of teachers in motivating attendance from guardians and modelling participation in sessions. Further possibilities for maximizing participation from children and guardians will be discussed, including striking a balance between new and repeated activities within sessions. The presenters will also make suggestions for addressing practical issues which may arise when implementing music therapy programmes in school settings. This paper will be of interest to other music therapists working in various early intervention or school settings, as well as those who work with communities at risk of marginalization. Presenters names and affiliation: Karen Kelly MA Music Therapist Alison Ledger MPhil, BMus (Mus Thy) (Hons) A Leanbh Programme Manager Blue Box Creative Learning Centre Limerick, Ireland Contact information: Alison Ledger Irish World Academy of Music and Dance Foundation Building University of Limerick, Limerick, Ireland Ph: +353 61 233297 Fax: +353 61 202589 Email: alison.ledger@ul.ie Mini biography of presenters: Karen Kelly is a music therapist working on the "A Leanbh" early intervention programme, Blue Box Creative Learning Centre, Limerick, Ireland. She also works within hospice and aged care settings. Alison Ledger is the manager of the A Leanbh programme. She also teaches and studies within the Irish World Academy of Music and Dance, University of Limerick.

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Synchronization and Imitation of Rhythm Patterns in children with autism


Kasumi Sasaki
Abstract: The purpose of the present study was to clarify the features of rhythm in autistic children who played a drum. Twenty-six children with autism and twenty-eight children enrolled in regular classes participated. The ability of rhythm in autistic children was irrelevant to their IQ and chronological age. We may say that the abilities of rhythm are not restricted by intellectual disabilities. Description: The purpose of the present study was to clarify the features of rhythm in autistic children who played a drum. Twenty-six children with autism and twenty-eight children enrolled in regular classes participated. They were asked to play a drum in imitation of model patterns. The results were evaluated in terms of 1) synchronization, 2) imitation of pattern, and 3) original pattern. Although the percentage correct of synchronization was not different between the both groups, imitation and original pattern was different. Compared with children enrolled regular classes, autistic children did not imitate of model patterns and showed many of original patterns. It is possible that the results are caused by difficulties of imitation and stereotyped pattern as the features of autism. In addition, the ability of rhythm in autistic children was irrelevant to their IQ and chronological age. We may say that the abilities of rhythm are not restricted by intellectual disabilities. Pruebas de habilidad de ritmo en los ni&ntilde;os con autismo Kasumi Sasaki (Centro de apoyo a personas con discapacidades de desarrollo) Koji Takeuchi (Universidad Meisei)

Descripci&oacute;n: Se han realizado pruebas de ritmo con la interpretaci&oacute;n de bater&iacute;a el&eacute;ctronica en las que participaron 26 ni&ntilde;os con autismo y 28 ni&ntilde;os de la clase ordinaria, y a trav&eacute;s de la comparaci&oacute;n entre ellos se han aclarado las caracter&iacute;sticas sobre habilidad de ritmo de los ni&ntilde;os con autismo. Analizando esta interpretaci&oacute;n de bater&iacute;a el&eacute;ctronica, hemos clasificado en las tres categor&iacute;as siguientes: (1) sincronizaci&oacute;n (2) imitaci&oacute;n y (3) modelo propio. Acerca del porcentaje de reacci&oacute;n correcta en la categor&iacute;a de sincronizaci&oacute; n result&oacute; que no hubo mucha diferencia entre los ni&ntilde;os con autismo y otros de la clase ordinaria. Sin embargo, en cuanto a las categor&iacute;as de imitaci&oacute;n y modelo propio se not&oacute; gran contraste entre ellas. El porcentaje de reacci&oacute;n correcta en la categor&iacute;a de modelo propio de los ni&ntilde;os con autismo fue el m&aacute;s alto, y en la de imitaci&oacute;n apenas hubo reacci&oacute;n correcta . Por otra parte, en el caso de los ni&ntilde;os de clase ordinaria el porcentaje de reacci&oacute;n correcta de la categor&iacute;a de imitaci&oacute;n fue alto, y al contrario en la categor&iacute;a de modelo propio casi no se obtuvo reacci&oacute;n correcta. La tendencia que se ha mostrado con la prueba de ritmo sugiere que tiene algo que ver con las caracter&iacute;sticas de los ni&ntilde;os con autismo como dificultad para imitar y persistencia en seguir un modelo restringido y estereotipado . Adem&aacute;s de esto hemos estudiado la posible relaci&oacute;n entre la habilidad de ritmo de los ni&ntilde;os con autismo, y el cociente intelectual y la edad cronol&oacute;gica. De esta forma, se considera que la habilidad de ritmo es independiente y no influyen en ella el cociente intelectual ni la edad cronol&oacute;gica. Synchronization and Imitation of Rhythm Patterns in children with autism Abstracto: En consecuencia de las pruebas de ritmo, muestra la tendencia de que los ni&ntilde;os autistas ejecutan con modelo propio debido a su dificultad para imitar. Esto est&aacute; relacionado con las caracter&iacute;sticas de los ni&ntilde;os autistas. Se considera que la habilidad de ritmo no depender&iacute;a del cociente intelectual ni la edad. Presenter name(s): Kasumi Sasaki affiliation(s): Chiba Prefecture Autism

Support

Center

Contact information name, Kasumi Sasaki address, 3-1-2-4 honmachi,Abiko-shi,Chiba, Japan telephone, fax Tel.fax 81-471652515 E-mail: kasumixchoco2003@yahoo.co.jp
66

The Susan G. Komen Music Therapy Initiative: Product and Process


Barbara Wheeler - Carolina Salvador - Inka Weissbecker - Paige Robbins Elwafi
ABSTRACT: This presentation describes the initiation, process, and outcomes of the Susan G. Komen Music Therapy Initiative, which provides up to five individual music therapy sessions to women undergoing chemotherapy for breast cancer. Sessions are scheduled before or after medical appointments. Interactive music is reinforced by daily music listening. Goals are to provide an outlet for emotional expression and outcome measures assess patients quality of life (FACT-B), fatigue (FSI), and mood (POMS-SF) before and after completion of music therapy sessions. DESCRIPTION: The Susan G. Komen Music Therapy Initiative provides music therapy services to women diagnosed with breast cancer who are undergoing weekly treatment with chemotherapy/biotherapy or other therapies at a local cancer treatment center. These treatments can be neoadjuvant, adjuvant, or for metastatic disease. It is funded by Susan G. Komen for the Cure, the local chapter of the Susan G. Komen Foundation (which funds only breast cancer projects). Music therapy interventions are individual sessions lasting 30-45 minutes, using live interactive music reinforced by daily music listening. Women are referred by staff members. Five music therapy sessions are provided for a minimum of 20 women for a total of 100 music therapy sessions. The sessions occur immediately before or after patients chemotherapy or other medical appointments. Sessions are catered to the individual needs of the patients, providing emotional support during a potentially difficult period. Goals include: provide an outlet for emotional expression, improve patients quality of life, decrease fatigue, and improve mood. These related areas are evaluated: (a) at the beginning of the music therapy sessions, (b) immediately following the end of the music therapy, and (c) 1 month after the end of the music therapy. All measures are given at each point. Participants fill out three questionnaires, measuring Quality of Life (FACT-B), Mood (POMS-SF) and Fatigue (FSI), and also indicate on a brief questionnaire whether and how long they have listened to the music at home for each day of the previous week. The attitudes of the multidisciplinary team toward music therapy are assessed by a questionnaire at the beginning and end of the project. The project began in June 2007 and will end approximately 8 months later. Results of the assessments will be presented, as will the process that has been followed, beginning with procuring the funding through instituting the music therapy to conducting the final evaluation and analysis. Challenges and rewards of conducting such a project in an institution that has not previously had music therapy will also be discussed. PRESENTER NAME(S) AND AFFILIATION(S): Barbara Wheeler, PhD, MT-BC, Professor of Music Therapy, University of Louisville Carolina Salvador, MD, Instructor in Medical Oncology/Hematology, University of Louisville Inka Weissbecker, PhD, Assistant Professor, Department of Psychological and Brain Sciences, University of Louisville Paige Robbins Elwafi, MT-BC, Music Therapist CONTACT INFORMATION: Barbara L. Wheeler, School of Music, University of Louisville, Louisville, KY 40292 USA, 1-502-852-2316 (telephone), 1-502-852-0520 (fax). MINI BIOGRAPHY OF PRESENTERS: Barbara L. Wheeler is Professor and Director of Music Therapy at the University of Louisville. She is President-Elect of AMTA [will be President in January 2008]. She edited Music Therapy Research, 2nd Edition, and coauthored Clinical Training Guide for the Student Music Therapist. Carolina Salvador is Instructor in Medical Oncology /Hematology at the James Graham Brown Cancer Center (University of Louisville).She specializes in Breast Cancer and is part of the Breast Cancer Multidisciplinary Clinic. Inka Weissbecker is an Assistant Professor at the University of Louisville Department of Psychological and Brain Sciences. She specializes in interventions that alleviate the effects of stress and trauma and she is a member of the NGO Committee on Mental Health at the United Nations. Paige Robbins Elwafi is a music therapist working in the tri-state area of Indiana, Kentucky, and Ohio. She is pursuing her masters degree in music therapy at Temple University and has a special interest in multicultural issues in the profession, specifically the role of music in Islamic culture.

67 Titulo: La iniciativa de Terapia de Musica de la Fundacion Susan G. Komen: Proceso y Desarrollo

ABSTRACT:

Esta presentacion describe la iniciacion, el proceso y los resultados de La iniciativa de Terapia de Musica de la Fundacion Susan G. Komen, la cual provee hasta cinco sesiones de terapia de musica individuals a mujeres en tratamiento con quimioterapia para cancer del seno. Las sesiones tienen lugar inmeediatamente antes o despues de las citas medicas. La terapia musical se reinfuerza con escuchas diarias. El objetivo es proveer salida para la expression de las emociones consiguiendo una mejoria en la qualidad de vida (FACT-B), fatiga (FSI), and animo (POMS-SF) antes y despues de completer las sesiones de terapia de musica. DESCRIPCION: La iniciativa de Terapia de Musica de la Fundacion Susan G. Komen proporciona servicios de terapia de musica a mujeres con cancer del seno que estan reciviendo tratamientos semanales con quimioterapia/bioterapia u otros tratamientos en un centro de cancer local. Estos tratamiento pueden ser pre- or post- cirugia o para enfermedad metastatica. Este studio esta patrocinado por la sociedad de Susan G. Komen for the Cure, delegacion local de Susan G. Komen Foundation (solo patrocina studios referents al cancer del seno). Las sesiones de terapia musical son individuals, de una duracion de 30-45 minutes, empleando musica en directo seguido de escucha diaria de la musica elegida en la session. Las mujeres son referidas por miembros del equipo. Cinco sesiones de terapia musical por paciente con un minimo de 20 mujeres para obtener un total de 100 sesiones. Las sesiones tienen lugar immediatamente antes o despues de las citas medicas. Las sesiones estan dirigidas para acomodar las necesidades de la paciente y proveer apoyo emocional durante un tiempo potencialmente dificil. Los objetivo son: dar una via de salida para las emociones, mejorar la calidad de vida, disminuir la fatiga y mejorar el animo. Las areas a evaluar son: (a) al inicion de las sesiones, (b) immediatamente despues de la ultima sesion, y (c) 1 mes despues de la ultima sesion. Las mismas medidas se evaluaran en cada punto. Las participantes rellenaran tres questionarios que miden la calidad de vida (FACT-B), el animo (POMS-SF) y el cansancio (FSI), y tambien se recogeran los datos del tiempo empleado a diario en escuchar la musica en el hogar en la semana precedente. Las opinions sobre la terapia musical del equipo multidisciplinario seran evaluados mediante un questionario al inicio y a la terminacion del proyecto. El proyecto comenzo en Junio de 2007 y se terminara aproximadamente 8 meses despues. Se presentaran los resultados de las evaluaciones asi como el proceso seguido, empezando con como se consiguio la beca, pasando por la instauracion de la terapia y terminando con la realizacion del analisis y evaluacion final. Tambien se presentaran los obstaculos, las soluciones y las satisfaciones de conducir este projecto en una institucion que carecia de un programa de terapia de musica. PRESENTER NAME(S) AND AFFILIATION(S): Barbara Wheeler, PhD, MT-BC, Professor of Music Therapy, University of Louisville Carolina Salvador, MD, Instructor in Medical Oncology/Hematology, University of Louisville Inka Weissbecker, PhD, Assistant Professor, Department of Psychological and Brain Sciences, University of Louisville Paige Robbins Elwafi, MT-BC, Music Therapist CONTACT INFORMATION: Barbara L. Wheeler, School of Music, University of Louisville, Louisville, KY 40292 USA, 1-502-852-2316 (telephone), 1-502-852-0520 (fax).

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Song writing and Performing: Participants Experiences beyond the Therapy Room
Toni Day
Abstract: This paper explores the role of song writing for five women who have experienced childhood abuse. It is based on research the author has completed where women participants were asked to retrospectively describe their experiences of the song writing process including recording and the public performance of their work. Description: As a therapeutic technique, the benefits of song writing for and with clients have been widely documented by music therapists. Whilst many music therapists make audio recordings of their clients songs which may be used for sharing with friends and families beyond the therapy room, the way the songs might become a final object (recorded song) and the therapeutic relevance of recording and performing songs for clients has only recently been explored. Furthermore, understanding the longer term impact of the song writing, recording and performing processes on participants has received little attention in the music therapy literature to date. In-depth interviews were carried out with music therapy participants some time after the completion of the program. They were transcribed and analysed using qualitative research methodology. Some of the questions asked of participants included: What was it like for them to write and perform songs about such painful issues? Have they shared their songs with others? What meaning do their songs hold for them now? The literature provides a precedent for exploration of the participants experiences of the song writing process and the on-going meaning of their song creations, with discussions on client experiences in music therapy (Amir, 1999; Hibben, 1999), client experiences of song writing (OCallaghan, 1996), and an investigation into the life of song creations of children with cancer (Aasgaard, 2002). Turry (2005) is the first known author to document the experiences of a clients performance of her song creations outside of the music therapy context. The literature also provides theories of the benefits of using creative methods (including music therapy) to assist in the recovery process from childhood abuse and trauma (Amir, 2004; Austin, 2001; Montello, 1999). This paper extends this previous literature by including participants perspectives of the experience of the song writing performing processes, and specifically highlighting the benefits of the technique of group song writing for women who have experienced childhood abuse. It provides support for the value of the public performance of songs created in therapy and serves as a starting place for the exploration of the on going meaning of song creations for music therapy participants. Author: Toni Day (B.Mus, M.Phil (Music Therapy), R.M.T.) Contact Details: t.day1@uq.edu.au 149 Park Road Woolloongabba Qld 4102 AUSTRALIA Ph: (07) 3391 7098 Mobile telephone: 0408 981 918 Fax: (07) 3365 4488

Bio: Toni Day is the Co-ordinator of Clinical Training (Music Therapy) at The University of Queensland, Brisbane, Australia. She has had diverse experience across a range of clinical populations including working with women and children who have experienced childhood violence. She has recently completed her MPhil which explored the role of song writing for mothers who have experienced childhood abuse.

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The Interaction of Music Preference, Familiarity, and Psychophysical Properties in Relaxation Music
Xueli Tan - Charles Yowler - Dennis Super - Richard Fratianne
ABSTRACT: The purpose of this 3-stage study was to investigate the factors that influenced the perception of degree of relaxation in music. Fourteen music therapists and eighty healthy adults rated their music preferences, familiarity, and twelve psychophysical properties of relaxation music. The results indicated music preference and familiarity as significant factors. DESCRIPTION: Stage 1: An expert panel consisting of five music therapists suggested a total of thirty relaxation music selections for this study. Stage 2: Another nine music therapists then listened to 3-minute excerpts from each of these selections and rated twelve psychophysical properties including tempo, pitch range, dynamic variation, melodic complexity, harmonic complexity, rhythmic complexity, instrumental complexity, lyrics, vocalization, mode, melodic contour, and timbre on 11-point Likert-type scales. They also rated subjective responses of personal preference, familiarity, and perceived degree of relaxation for all 30 selections. The intra-class correlation coefficient was used to test the level of agreement amongst the nine music therapists for the psychophysical properties. The Kendalls tau b tests revealed positive and negative correlations between the psychophysical properties and the degree of relaxation. Both music familiarity and preference had positive correlations with degree of relaxation. The correlation between music preference and degree of relaxation reached significance level [p < .01 (2-tailed)]. From this stage, 10 music selections with a rating of 5 or less for perceived degree of relaxation were taken out of the study. Stage 3: Fifty female and thirty male non-musicians between the ages of 22 to 72 years (mean 44.93 12.28) gave subjective ratings of their preference, familiarity, and perceived degree of relaxation for the remaining 20 music selections. The Kendalls tau b correlation analysis showed positive correlations between familiarity and degree of relaxation, and preference and degree of relaxation. Both correlations reached significance levels [p < .01 (2-tailed)]. Summary: The results from this study indicated that music familiarity and preference are statistically significant factors in how individuals perceive the degree of relaxation in music.

PRESENTER NAME and AFFILIATIONS: Xueli Tan, MM, MT-BC The Cleveland Music School Settlement Cleveland, Ohio USA *Charles Yowler, MD, FACS, FCCM MetroHealth Campus of Case Western Reserve University School of Medicine Cleveland, Ohio USA *Dennis Super, MD, MPH MetroHealth Campus of Case Western Reserve University School of Medicine Cleveland, Ohio USA *Richard Fratianne, MD, FACS MetroHealth Campus of Case Western Reserve University School of Medicine Cleveland, Ohio USA *co-author, will not be presenting at conference CONTACT INFORMATION: Xueli Tan, MM, MT-BC 11125 Magnolia Drive Cleveland, OH 44106 Tel: 1-216-778-4683 Fax: 1-216-421-5813 Email: xuelitan@hotmail.com, xtan@metrohealth.org

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MINI-BIOGRAPHY (max 30 words): Xueli Tan is the recipient of the 2006 American Music Therapy Associations Fultz Research Award. She had presented music therapy research work in Europe, Asia, and North America.

El ttulo de la presentacin: La interaccin de la preferencia de la msica, la familiaridad, y las propiedades psicofsicas en la msica de relajacin Autores: Xueli Tan, MM, MT-BC The Cleveland Music School Settlement Cleveland, Ohio, USA Charles Yowler, MD, FACS, FCCM Dennis Super, MD, MPH Richard Fratianne, MD, FACS MetroHealth Campus of Case Western Reserve University School of Medicine Cleveland, Ohio, USA Resumen: El propsito de este estudio de tres etapas era investigar los factores que influyeron la percepcin del grado de la relajacin en la msica. Catorce terapeutas de la msica y ochenta adultos sanos clasificaron sus preferencias de la msica, familiaridad, y doce propiedades psicofsicas de la msica de la relajacin. Los resultados indicaron la preferencia de msica y la familiaridad como factores significantes. Descripcin: Etapa 1: Un panel experto de cinco terapeutas de msica les sugirieron treinta selecciones de la msica de la relajacin para este estudio. Etapa 2: Otra nueve terapeutas de la msica escucharon tres minutos de extractos de cada seleccin y luego clasificaron doce propiedades psicofsicas incluyendo tempo, registro de tono, variacin dinmica, complejidad meldica, complejidad armnica, complejidad rtmica, complejidad instrumental, letras, vocalizacin, modo, contorno meldico, y timbre en una escala de tipo Likert de once puntos. Tambin, clasificaron respuestas subjetivas de la preferencia personal, la familiaridad, y el grado percibido de relajacin para toda de las treinta selecciones. La intra-class correlation coefficient fue usado para probar el nivel del acuerdo entre la nueve terapeutas de la msica para la propiedades psicofsicas. Los exmenes de Kendalls tau b mostraron correlaciones positivas y negativas entre las propiedades psicofsicas y el grado de relajacin. La familiaridad de msica y la preferencia de msica tenan correlaciones positivas con el grado de relajacin. La correlacin entre la preferencia de msica y el grado de relajacin llegaron al nivel de significacin [p < .01 (2-tailed)]. Desde esta etapa, diez selecciones de msica con una puntuacin de cinco o menos de cinco para el grado percibido de relajacin fueron sacadas de este estudio. Etapa 3: Cincuenta mujeres y treinta hombres que no estn msicos entre las edades 22 a 72 (medio 44.93 12.28) dieron una puntuacin subjetiva de sus preferencias, la familiaridad, y el grado percibido de la relajacin para las veinte selecciones de msica que quedaban. La anlisis de correlacin de Kendalls tau b mostr correlaciones positivas entre la familiaridad y el grado de relajacin, y la preferencia y el grado de relajacin. Las dos correlaciones llegaron a niveles de significacin [p < .01 (2-tailed)]. Resumen: Los resultados de este estudio indicaron que la familiaridad de msica y la preferencia de msica son factores significativas segn las estadsticas en cmo los individuos perciben el grado de relajacin en la msica. Traducido por: John E. Bugner, John Carroll University

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The first time I ever I saw your face Music Therapy with depressed mothers and their babies.
Alison Levinge
ABSTRACT Early brain development is adversely affected by traumatic experiences in the earliest relationships (M.Wilkinson,2006). This paper aims to explore the findings arising from a recent project, in which music is used as a therapeutic intervention with depressed mothers and their babies. I will discuss some of the indicators relating to insecure attachment and examine how changes may occur through the development of a music therapy relationship. The work was carried out in a socially deprived area of the UK in which consistent post natal support is limited.

DESCRIPTION My initial research degree examined the use of music with children with emotionally based communication difficulties aged between 3 and four years of age. The work was carried out through the study of the therapeutic relationship developed between the individual child and myself. Reflecting subsequently on the importance of the early mother baby relationship, I began to consider how early attachment issues may affect later development. Also, to think about how music therapy may be used as a therapeutic intervention with a mother and her baby together. Since the eighties, research into infant development has focussed upon how the baby achieves particular landmarks. For example such as sitting, grasping, or the capacity to perceive and think about objects. Arising from an understanding of how babies make relationships, further research has added another dimension to the findings. This is, an understanding of how the baby develops a sense of self. Gerhardt in her book Why Love Matters writes, Our minds emerge and our emotions become organised through engagement with other minds, not in isolation The baby is as she defines .. an interactive project.. If the baby does not have the right conditions, even the growth of the brain itself may not progress adequately, and it is in the first year of life that it grows most rapidly. The earlier trauma occurs, the more powerful the effect will be upon how the child will both develop and relate to others. As part of a more recent research fellowship looking at how music therapy may be used as an intervention between a mother and her baby, connections were made with a group of mothers diagnosed with Post Natal Depression. A pilot project was set up and music therapy offered in a group format. Analysis of the material has informed the development of the project and illuminated the value of music therapy with this particular population. Dr Alison Levinge Head of Programme for MA in Music Therapy Royal Welsh College of Music and Drama Castle grounds Cathays Park Cardiff CF10 3ER U.K

Tel 02920391380 E-mail Alison.Levinge@rwcmd.ac.uk

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Crear de la vida para romper los falsos mitos de la adolescencia


Carolina Carpentieri - Giuseppe Sanges
Resumen El trabajo relaciona experiencias de un taller de MT realizado durante cinco aos con adolescentes de riesgo. El objetivo de la MT era obtener emociones naturales para contrarrestar los falsos mitos de la adolescencia. El trabajo de elicitacin se ha basado en el objeto transformativo por su relevancia socio-educativa. El proyecto MT concluy con producciones artsticas.

Descripcin El trabajo es la exposicin de un taller de MT empezado en 2003 con el apoyo de la C.E. (Proyecto Comenius integrado en el Programa Scrates) en un contesto social de riesgo: el I.E.S. A. Tilgheren Ercolano (Npoles). El trabajo de elicitacin se ha basado en el objeto transformativo por su relevancia socio-educativa. La comunicacin sonora y su implicacin emotiva han esculpido las defensas naturales utilizadas por los adolescentes. El contacto sonoro ha suscitado emociones inesperadas que han llevado a la exploracin y al descubrimiento de espacios interiores desconocidos. El compartir esta experiencia excepcional, porque no solamente nutra a un solo individuo sino tambin a todos los dems, y al mismo tiempo exclusiva, porque basada en las aportaciones reales de cada uno, ha reforzado el sentido de pertenencia al grupo que ha aprendido nuevos modos de relacionarse. La transformacin emocional, fsica y ambiental que el adolescente experimenta en la relacin sonora ms que un objeto, ha sido una fuente activa de transformacin. La relacin y la atraccin con los musicoterapistas y la unin con los miembros del grupo, las herramientas sonoras, las ideologas, pero sobre todo la emocin desarrollada en la relacin sonora contribuyeron a reafirmar el mundo interior del adolescente. Eso nos recuerda la afectividad de las primeras relaciones y la experimentacin y la generacin de smbolos. El espacio semntico-relacional del adolescente cambia en la sintonizacin con el otro en un intercambio libre y rico, motivado e integrante, vital y afectuoso que amplia y caracteriza el sentimiento de amistad. Para concluir, enfatizamos el resultado socio-educativo, obtenido en este contexto, con la creacin de productos, obras de arte como: la Sinfona de reglascomo fue identificada la MT, una produccin pictrica sobre la Paz; una produccin editorial en los dos idiomas (italiano-espaol) con el ttulo Emozionarsifa bene/Emocionarsehace bien que presentaron en el Congreso Internacional de la Educacin 2004 en Zaragoza la musicoterapeuta y la profesora, tutora del Instituto, S. Borriello ; una serie de poesas con temas surgidos durante las sesiones de terapia: Viaje, Emociones, Alma, Unin, Silencio, todas ellas recogidas en canciones bajo el ttulo Las vas del alma La dimensin artstica puede ser considerada como una oportunidad para crear de la vida, para obtener de los protagonistas las emociones verdaderas que nacen de las necesidades instintivas y naturales para contrastar las emociones artificiales suscitadas por la comn ficcin televisiva, cinematogrfica o telemtica. Carolina Carpentieri Calle Carlo Cattaneo 40 80040 Trecase Npoles Italia Telfono 0039 081 861 38 27 Mvil 0039 338 5237385 ciaiko16@libero.it Carolina Carpentieri Musicoterapista Unidad de Neuropsiquiatra para Nios y Jvenes Unidad y Departamento de Psiquiatria, ASL SA 1 Nocera Inferiore - Salerno Profesora de msica y de musicoterapia, Tutora y Directora Didctica en la Escuela de Musicoterapia Carlo Gesualdo Gesualdo Avellino Giuseppe Sanges Neurlogo, MD, PhD, ASL NA 4-5 Npoles Profesor de neuroanatoma, neurofisiologa, fisiologa, neurologa clnica, en la Escuela de MT Carlo Gesualdo de Avellino

Mini-biography of Carolina Carpentieri Music therapist (Psychiatry and Child Neuropsychiatry) from 2000 Teacher (Piano and Orff Method) in Music Academy from 1995 MT Professor, Tutor, Didactic Director Carlo Gesualdo MT School Avellino from 2005
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Mini-biography of Giuseppe Sanges

Physician from 1985, Neurologist from 1989, Post-graduate research fellow University of Naples- Bari 1992, AASSLL Naples from 1995 Neuroanatomy, neurophysiology, clinical neurology professor, Carlo Gesualdo MT School Avellino from 2005

To make from life to break the false-myths of adolescence. Abstract The work reports on a five-years MT laboratory in at-risk adolescents. The aim of MT was to draw out natural emotions to oppose to the false myths of the adolescence. The working drawing was based on the transformative object for its social-educational relevance. MT project ended with artistic productions.

Description The work reports on a MT laboratory started on 2003 supported by the European Community (Comenius project) in a at-risk social environment: in A. Tilgher, a secondary technical school in Ercolano (Naples). The working drawing was based on the transformative object for its social-educational relevance. Sound communication and the ensuing emotional involvement progressively slacken the defences used by the adolescents. The sound contact stirred up emotions that led to the exploration and discovery of unknown inner spaces. Sharing the exclusive experience to nourish themself and others, exclusive because based on the real contributions of the individuals, strengthened the sense of belonging to the group that learned new more profound relational modalities. The emotional, physical and environmental transformation that the adolescent experiences in the sound relation has been an active source of transformation rather than object of transformation. The attraction-attachment for the Musictherapists, the bond with the members of the group, the sound tools, but mainly the emotion sprung from sound relation, all acted reassuring the inner world of the adolescent. This reminds the affectivity of the first relationships and experimentation-generation of symbols. The semantic-relational space of the adolescent changes in tuning up the others in a vital and tender exchange that enhance the feelings of friendship. Then we emphasize the social-educational result, obtained by means of peculiar ways that gave rise to products, real works of art: A symphony of rules a pictorial production on Peace; Emozionarsi fa bene/Emocionarsehace bien a bi-lingual, Italian-Spanish (International Congress on Education 2004, Saragossa) collection of poems on topics came out during the therapy: Journey-Emotions-Soul-Trust-Silence (S. Borriello* & C. Carpentieri eds.); Le vie dellanima a collection of songs. The artistic dimension may be considered as a chance to make from life, to withdraw the subjects from artificial emotions opening them to true emotions born from natural and instinctual needs.

*S. Borriello appears as school tutor. Carolina Carpentieri Via Carlo Cattaneo 40 80040 Trecase Naples Italy Phone 0039 081 861 38 27 Mobile 0039 338 5237385 ciaiko16@libero.it Carolina Carpentieri Music therapist Child and Youth Neuropsychiatry Unit and Department of Psychiatry, ASL SA 1 Nocera Inferiore - Salerno Professor of music and musictherapy, Tutor, Didactic Director Carlo Gesualdo School of Musictherapy Gesualdo - Avellino Giuseppe Sanges Neurologist, MD, PhD, ASL NA 4-5 Naples Professor of neuroanatomy, neurophysiology, clinical neurology, Carlo Gesualdo MT School Avellino Mini-biography of Carolina Carpentieri Music therapist (Psychiatry and Child Neuropsychiatry) from 2000 Teacher (Piano and Orff Method) in Music Academy from 1995 MT Professor, Tutor, Didactic Director Carlo Gesualdo MT School Avellino from 2005

Mini-biography of Giuseppe Sanges Physician from 1985, Neurologist from 1989, Post-graduate research fellow University of Naples- Bari 1992, AASSLL Naples from 1995 Neuroanatomy, neurophysiology, clinical neurology professor, Carlo Gesualdo MT School Avellino from 2005

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The evidence for music therapy to improve interactions of disadvantaged young families.
Jan M Nicholson - Vicky Abad - Kate Williams - Carolyn Hart - Louise Docherty - Toni Day
Abstract Sing & Grow is an early intervention music therapy project targeting marginalised parents and their children aged 0-3 years. Interim results of a large, independent study suggest the program enhances childrens social and communication skills and promotes positive parenting. This paper will detail the outcomes and implications for music therapy. Description Sing & Grow is an early intervention music therapy project, funded by the Australian Government to expand nationally and establish a strong evidence-base. Targeting marginalised parents and their children aged 0-3 years, group music and song-based activities are used as an enjoyable and non-threatening approach for engaging parents and children, and modelling positive parenting skills. The aims of the program are to improve parent-child interactions, build social connectedness and parents confidence at using music as play, and enhance child development. An independent evaluation is examining the projects effectiveness in terms of immediate (pre-post) and 3-month impact on parenting skills and efficacy, childrens social and emotional development, and parent mental health. Interim results from 1,027 families attending 103 group programs show that the program has been successful in recruiting parents experiencing a range of vulnerabilities: 55% had not completed high school education; 39% reported their main income was from benefits; 28% were single parents; and 5% were under 20 years of age. In addition, at commencement 43% reported that they had experienced an episode of depression in the last year. Pre-post analyses of parent self-reports revealed statistically significant reductions in the frequency of angry-coercive parenting interactions and parent mental health symptoms, and significant increases in parent-child engagement in learning activities at home. Childrens communication and social-cognitive play skills also improved significantly from pre to post. Analyses of therapists observations found significant improvements for ratings of parent-child interactive behaviours from pre to post: parental sensitivity, engagement and acceptance; and child responsiveness, interest and participation, and social engagement. Final data from approximately 2,000 families are due by June 2008. This paper will detail the outcomes from this substantial research project and discuss the implications for music therapy. Presenter names: Assoc. Prof. Jan M Nicholson1, Vicky Abad2, Kate Williams2, Carolyn Hart2, Louise Docherty2, & Toni Day2. 1 Murdoch Childrens Research Institute, Royal Childrens Hospital, Melbourne. 2 Playgroup Association of Queensland Contact Details: Carolyn Hart Acting National Director Sing & Grow project Playgroup Association of Queensland P.O. Box 339 Alderley, QLD, 4051 AUSTRALIA Ph: +61 7 3855 9600 Fax: +61 7 3855 9699 Email: chart@playgroupqld.com.au

Mini biographies of presenters: Jan Nicholson is a Principal Research Fellow at the Murdoch Childrens Research Institute in Melbourne. She has a background in child development, family psychology, epidemiology and health promotion. All remaining presenters are members of the clinical management team of Sing & Grow, and have extensive experience in early intervention and other areas of music therapy.

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Evidencia de que la musicoterapia permite mejorar la interaccin de familias jvenes desfavorecidas

Resumen Sing & Grow (Cantar y crecer) es un proyecto de musicoterapia de estimulacin temprana destinado a padres marginalizados con hijos de hasta tres aos. Los resultados obtenidos a travs de un extenso estudio independiente sugieren que el programa permite mejorar las habilidades sociales y de comunicacin del nio y promueve una educacin positiva. A travs de este artculo, podremos ver los resultados y los beneficios que aporta la musicoterapia. Descripcin Sing & Grow es un proyecto de musicoterapia de intervencin temprana financiado por el gobierno australiano que contribuye a mejorar los logros obtenidos en nios pequeos a travs de la prevencin, la estimulacin temprana y la presentacin de pruebas realizadas en Australia que evidencian la efectividad de este recurso. Teniendo en cuenta la marginalizacin de algunos padres y sus hijos menores de tres aos, las actividades que se llevan a cabo con la ayuda de grupos musicales y canciones permiten un acercamiento agradable y sano con el objetivo de atraer a los padres y sus hijos y lograr el desarrollo de habilidades educativas positivas. El objetivo del programa consiste en mejorar las relaciones entre padres e hijos, establecer una conexin social y fortalecer la confianza de los padres para utilizar la msica como un juego y mejorar a travs de este medio el desarrollo del nio. Una evaluacin independiente se dedica a examinar la efectividad de este proyecto, en trminos de impacto inmediato (previo y posterior) y al cabo de tres meses, sobre las habilidades de una paternidad responsable, del desarrollo social y emocional del nio y de la salud mental de los padres. Los resultados obtenidos entre 1027 familias que concurrieron a 103 programas grupales muestra que el programa ha sido exitoso al seleccionar familias con determinado grado de vulnerabilidad: 55% no haba completado la educacin secundaria; 39% inform que sus principales ingresos provenan de subsidios sociales; 28% de ellos eran padres solteros, y 5% era menor de veinte aos. Asimismo, al iniciar la sesin un 43% declar que haba sufrido algn episodio de depresin en el ltimo ao. Anlisis previos y posteriores a los autoinformes presentados por los padres revelaron reducciones estadsticamente significativas en la frecuencia de las interacciones parentales violentas y coercitivas y en los sntomas de la salud mental de los padres, as como importantes aumentos en el compromiso de padres e hijos a realizar actividades educativas en el hogar. Asimismo, se observaron importantes mejoras en la comunicacin y las habilidades sociales y cognitivas de los nios para jugar. Un anlisis de las observaciones de los terapeutas revel avances significativos en el valor de la interaccin entre padres e hijos antes y despus de participar de este proyecto: por un lado, la sensibilidad paternal, el compromiso y la aceptacin, y por otro, la respuesta del nio, su inters, participacin y compromiso social. La presentacin de los datos finales correspondientes a aproximadamente 2000 familias se prev para junio de 2008. Dicho documento detallar los resultados de este importante proyecto de investigacin y tratar los beneficios de la musicoterapia. Nombres de los expositores: Asoc. Prof. Jan M Nicholson1, Vicky Abad2, Kate Williams2, Carolyn Hart2, Louise Docherty2 y Toni Day2. 1 Instituto Murdoch de investigacin infantil, Hospital Royal Children de Melbourne. 2 Asociacin Playgroup de Queensland Informacin de contacto: Carolyn Hart Directora Nacional a cargo del proyecto Sing & Grow Asociacin Playgroup de Queensland P.O. Box 339 Alderley, QLD, 4051 AUSTRALIA Tel: +61 7 3855 9600 Fax: +61 7 3855 9699 Correo electrnico: chart@playgroupqld.com.au

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Active Music Therapy for People with Cerebral Palsy


Friederun Anna Bhmig
Abstract People with Cerebral Palsy present a big variety of mental and kinetic disorders that music therapists are challenged to meet. The workshop refers to a wide diversity of improvisation skills, both with instruments and voice, which are necessary in order to meet the special psychotherapeutic needs in groups or individual therapies.

Description In the beginning of the workshop I will sketch briefly my working framework which is a day centre for people with cerebral palsy in Athens. In this centre are included different sections (like kindergarten, elementary school and a club for adults), while the participants are people from 3 to 50 years old with Cerebral Palsy. As Music Therapist and musician in this centre, I interact with the most of these people, either in group or individual sessions. During the music therapy sessions, I combine elements from various relevant fields and approaches like special education, music as creative activity, community music therapy and music psychotherapy with serious mental disorders, which will be described. Then, short definitions, theoretical distinctions and improvisation examples of the concepts: creative musical activity, music in special education and music therapy, will follow. The presentation of improvisational intervention in music therapy with children with multiple and serious mental disorders will be discussed on the theoretical base of music therapeutic interventions in contactmodi (Frohne-Hagemann & Ple-Adamcyk, 2005: Indikation Musiktherapie bei psychischen Problemen im Kindes und Jugendalter, Musiktherapeutische Diagnostik und Manual nach ICD-10). In the practical part of the workshop, practical suggestions of improvisation models, especially for groups with kinetic and mental difficulties, will be presented. The presentation will be based mainly on practical experience with the significant clients and will engage the participants in an active way by exchanging ideas, personal experiences and improvising together with instruments. Presenter name: Friederun Anna Bhmig, Athens/ Greece Diploma Music Therapy, FH Heidelberg Contact information: Friederun Anna Bhmig Koumarianou 15 Athens 114 73 Greece

tel: 00 30 210 34 21 230 Fax: 00 30 210 96 44 330 Email: frannaboe@gmail.com

Biography: Diploma in Music Therapy on the Fachhochschule Heidelberg/Germany in 1992. Training in Regulative Music Therapy and Active Group Music Therapy (Dr. Schwabe.). Working experience in psychiatric and psychosomatic clinics, as well as with mental handicapped people. Plays French horn, piano, percussion.

laboratorio de musicoterapia para gente con paralisis cerebral Abstracto En la terapia musical para gente con parlalisis celebral, tenemos que confrotarnos con una gran variedad de trastornos, desrdenes mentales.Es necesario aplicar diferentes mtodos de trabajo con instrumentos y voces para satisfacer las nececidades psicoteraputicas en los grupos o las terapias individuales, en actividad creativa y trabajo en la comunidad. Descripcin Para empezar, me gustara explicar en breve la situacin especfica: Soy una Terapeuta musical en una institucin para gente con parlesia celebral. Trabajo en un espacio entre educacion especial - musica como actividad terapetica terapia musical social - psicoterapia musical con graves casos de desrdenes mentales. Este centro tiene incluso un jardn de infancia, una escuela elemental, un centro de dia, un taller y un club de adultos. Entonces me encuentro con gente de todas las edades, desde 3 hasta 50 anos, en grupos o en encuentros individuales. Definiciones cortas, distinciones tericas ticas y ejemplos de improvisaciones de los conceptos : actividad musical creativa, msica en la educacin especial y terapia musical seguirn. La presentacin audiovisual de la intervencin improvisando en la terapia musical con chicos que tienen mltiplos y graves desrdenes mentales se va77 a hablar en la base teretica de las intervenciones en contaactmodi n (Frohne-Hagemann and Ple-Adamcyk, 2005: Indikation Musiktherapie bei psychischen Problemen im Kindes und Jugendalter, Musiktherapeutische Diagnostik und Manual nach ICD-10).

Finalmente, ofertas prcticas de los modelos improvisatorios especialmente para grupos con problemas mentales, y de movimientos. La presentacin esta basada en principio en la experiencia prctica y con la intervencin de los participantes de una manera activa cambiando ideas y experiencias personales y tocando instrumentos juntos Nombre de la presentadora Friederun Anna Bhmig, Athens/ Greece Diploma Music Therapy, FH Heidelberg

Contact information: Friederun Anna Bhmig Koumarianou 15 Athens 114 73 Greece

tel: 00 30 210 34 21 230 Fax: 00 30 210 96 44 330 Email: frannaboe@gmail.com

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Soul Song Project


Christine Korb - Jane Andrews - Ted Owen - Liska McNally
DESCRIPCIN El Soul Song Project es una investigacin longitudinal que pretende explorar los efectos del canto coral en la salud de sus participantes individualmente. Este estudio se concentra en parmetros de percepcin emocional y fisiolgica como humor, nivel de energa, y calidad de vida experimentados por aquellos individuos que cantan. Se les ha solicitado la participacin a individuos y directores de diversas agrupaciones corales incluyendo coros comunitarios, coros de iglesia, coros de chant, coros a capella, coros profesionales, y coros conformados por individuos que enfrentan cualquier tipo de obstculo fsico. Ya que parece haber una falta de investigacin, basada en evidencia, asociando el canto con la salud, nuestro equipo de investigacin se propone utilizar un lapso de tiempo prolongado, apropiado al planteamiento de este diseo longitudinal y experimental para el anlisis de los diferentes niveles y efectos a largo plazo resultantes de las experiencias con el canto. Los resultados y las respuestas de los participantes sern comparados a resultados y respuestas de miembros de grupos de discusin de lectura que se renen en la misma ciudad. El diseo inicial facilitar la exploracin de parmetros de percepcin fisiolgica como control de estrs y nivel de energa mientras se observan resultados emocionales como cambios de humor, o aumento de la confianza en s mismo/a. La versin corta del perfil de estados del humor (POMS) ser administrada durante el perodo de coleccin de datos y de eventos musicales de una agrupacin coral. Asimismo, se seguir el dicho protocolo con los miembros de un grupo de discusin de lectura. Los miembros de agrupaciones corales llenarn auto-reportes durante ensayos escogidos al azar a lo largo de la estacin de prcticas y presentaciones. Finalmente, cada miembro del coro tendr la oportunidad de continuar su participacin en el proyecto durante un perodo extendido de tiempo. Se anticipa que una investigacin adicional de los resultados fisiolgicos y emocionales percibidos, que resultan de la participacin constante en grupos corales, rendira datos ms confiables con un acercamiento longitudinal al proceso de la investigacin. De ah, el estudio longitudinal del Soul Song Project. RESUMEN El Soul Song Project es una investigacin longitudinal que pretende explorar los efectos del canto coral en la salud de sus participantes individualmente. El proyecto se concentra en parmetros de percepcin emocional y fisiolgica tales como humor, nivel de energa, y calidad de vida en general, experimentados por aquellos individuos que cantan.

April 17, 2008 Soul Song Project DESCRIPTION The Soul Song Project is a longitudinal investigation to explore the effects of singing in choirs on the health of the individual participants including and specific to the perceived emotional and physiological parameters such as mood, energy, and the general quality of life experienced by those who sing. Participants and choir conductors are being approached to participate in this project, coming from a diversity of choral settings such as community choirs, church choirs, chant-focused and A Cappella choirs, professional choirs, and choirs comprised of individuals possessing any physical challenges. Since there seems to be a dearth of evidencebased research linking singing and health, in proposing such a longitudinal experimental design, it is the intention of the research team to consequently have extensive time in analyzing the many layers and long term effects resulting from such singing experiences. These results and responses of choristers will be compared to those members of a book discussion group(s) emanating from the same city in which a 'companion' choir(s) is meeting. The initial design will allow for the investigation of perceived physiological parameters such as stress management and energy level, while also looking at emotional outcomes such as change in mood or increased feelings of self-confidence. The short form of the Profile of Mood States (POMS) will additionally be administered during the data collection period of a choir's season of singing events. Likewise, the same protocol will be followed with members of a book discussion group. During the time of a choir's rehearsal and inclusive of performance opportunities, participants will fill out selfreports at randomly assigned rehearsals. Lastly, each choir member will have the opportunity to continue participating in the Project for an extended period of time. It would seem that further investigation of perceived physiological and emotional outcomes resulting from consistent participation in choral ensembles would yield more reliable data through a longitudinal approach to the research process, thus the longitudinal study of the Soul Song Project.
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ABSTRACT

The Soul Song Project is a longitudinal investigation to explore the effects of singing in choirs on the health of the individual participants including the perceived emotional and physiological parameters such as energy, stress, mood, and the general quality of life experienced by those who sing. 6. PRESENTER NAME (S) AND AFFILITATION: Christine Korb, MM, MT-BC/Director of Music Therapy, Marylhurst, University, Marylhurst, Oregon Jane Andrews, PhD/ Professor of Music Education and Choral Conductor, Wartburg College, Waverly, Iowa Ted Owen, MT-BC/ Private Contractual Music Therapist, Portland, Oregon Liska McNally, MT-BC/ Private Contractual Music Therapist, Portland, Oregon Merlin Douglass, BA, candidate for MAIS, Marylhurst University 7. CONTACT INFORMATION: Christine Korb, MM, MT-BC 13538 SW 63rd Place Portland, Oregon 97219 503-639-1510 MINI BIOGRAPHY OF PRESENTERS: Christine Korb: Associate Professor and Director of Music Therapy, Marylhurst, University; published composer and guitarist, Portland, Oregon. Jane Andrews: Ph.D/Professor of Music Education and Choral Conductor, Wartburg College, Waverly, Iowa. Ted Owen: MT-BC/ Board Certified Music Therapist in private practice, Portland, Oregon; drum circle facilitator and educator on rhythm-based communication and health; website designer for SSP. Liska McNally: MT-BC/ Private contractual Music Therapist, Portland, Oregon; singer/songwriter, performing artist; member of the Board of Oregon Association for Music Therapy; Choir Coordinator for SSP. Merlin Douglass: Free lance writer; grant researcher and assistant for SSP.

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Effects of music therapy CD creation on paediatric patients first radiotherapy treatment


Barry, Philippa
Abstract A mixed methods research design was used to investigate the effect of paediatric oncology patients creating CDs with a music therapist, on the patients distress and coping during their first radiotherapy treatment. Findings will inform understandings about supporting young patients through potentially adversive radiotherapy treatment. Efectos de la creacin de un compact disc de msica para pacientes peditricos en su primer tratamiento de radioterapia. Abstract Un diseo investigativo de mtodos mixtos fue utilizado para investigar el efecto de crear un compact disc de msica con un musicoterapeuta en los niveles de angustia y afrontamiento en pacientes de oncologa peditrica durante el primer tratamiento de radioterapia. Los resultados contribuirn al entendimiento sobre la asistencia para jvenes pacientes a lo largo de un tratamiento de radioterapia con potencial adverso. Paper Administering radiotherapy to children is considered a difficult task for the radiation therapist due to high stress levels often in both the child and their parents (Scott, Langton, & ODonoghue, 2002). Incorporating measures to improve comfort and reduce distress during radiotherapy treatment are essential (Bucholtz, 1994). However, there has been scant examination of supportive health care interventions to help paediatric patients initial radiotherapy treatment experiences. Both quantitative and qualitative research studies provide evidence for music therapys beneficial effects in paediatric oncology treatment contexts (Hilliard, 2006; Standley & Hanser, 1995). Following anecdotal reports of the benefits of music therapy as a non-pharmacological anxiolytic for paediatric radiotherapy patients (O'Callaghan, Sexton, & Wheeler, 2007), a controlled investigation on the effects of a music therapy intervention for paediatric radiotherapy outpatients was designed. The mixed methods research trial explored the usefulness of music therapy CD creation on paediatric patients distress and coping during their first radiotherapy treatment procedure. The method involved children creating a music CD using interactive computer-based music software (Sony, 2005), which was remixed by the music therapist-researcher to extend the musical material. Twelve paediatric radiotherapy outpatients aged 6-13 years were randomly assigned to either an experimental group condition, in which they could create a music CD prior to their initial treatment to listen to during radiotherapy, or to a control group condition, which received standard care. Quantitative and qualitative data was collected via: paediatric interview, including the use of the Kidcope questionnaire (Spirito, Stark, & Williams, 1988); parent/guardian questionnaire; radiation therapist staff questionnaire; and the music therapist-researchers clinical reflexive journal. In this paper, the research design, results, and the usefulness of music therapy CD creation in the paediatric oncology outpatient context will be presented. Contact: pipbarry@yahoo.com.au

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Shared Time, pulse, rhythm and timing in music therapy with autistic children
Kathinka Poismans
Abstract This presentation is about a PhD research that investigates what role pulse, rhythm and timing play in music therapy with autistic children and how it is related with the development of intersubjectivity. Theory, quantitative as well as qualitative design of the Description The innate ability for timing responses in social context is of undeniable importance for social play. For the regulation of reciprocity of motive and emotions in this play but also in the social communication, the flexibility of a shared predictive pulse is essential. The ability of sharing a predictable pulse is impaired with autistic people. In music therapy a musical frame can be offered by a beat and metre which is adapted to the personal tempo, rhythm and pulse of the child as soon as the child can endure psychological closeness. This frame is very predictable. It offers the autistic child the opportunity of joining in a musical game with the therapist and other players. Moments of synchronisation can be experienced, interaction and eventually intersubjective exchange can be developed. This is the theoretical idea behind the research project and it is build on theories and research of Trevarthen, Schumacher and Wimpory amongst others. Besides the investigation of establishment of a shared pulse and the development of polyrhythmic exchange, the interventions made by the therapists will also be charted. Especially the intuitive acting and the empathetic attunement will be observed and analysed. In contrast with the present day theories like TOM, the theories of the central coherence and executive functions, the staring point of this research is not cognitive, but it emphasizes the importance of mutuality and shared feelings. Author Kathinka Poismans Contact information Address: Wilhelminalaan 96 6042 EP Roermond, The Netherlands E-mail: k.poismans@freeler.nl Cell phone: 0031 6 383 08 569 Biography Kathinka Poismans is a Dutch classical pianist (BA) and music therapist (M Mth). She teaches music therapy at the Zuyd-University and is researcher of KenVak, a research centre for art therapies.

Tiempo compartido, tiempo, ritmo y timing en la terapia musical con nios autistas.

Resumen Esta presentacin trata de un trabajo de investigacin filosfico sobre el efecto del tiempo, ritmo y timing en el desarrollo nter subjetivo de los nios con autismo. La teora aqu abajo descrita, el diseo, calidad y cuantidad se ver desarrolladas aqu abajo.

Descripcin Las posibilidades de nacimiento para colocar reacciones dentro de un contexto social son muy importantes para una mejor sociedad. Compartir un pulso intuido y flexible es esencial y de suma importancia para regular la accin reciproca en motivaciones y emociones con este dentro de este juego, y tambin en la vida social verbal. Para gente con autismo no es normal poder compartir este pulso con otra gente. En la terapia musical se puede presentar una estructura musical tocada mediante un tiempo(beat) ,adaptada a la velocidad, ritmo y tiempo del nio y as poder llegar a que el nio pueda llegar a sentir. Esta estructura musical se puede sentir y el nio la puede sentir de antemano. As puede el nio participar en este juego musical con el terapeuta. Momentos de sincronismos se pueden apreciar, interactividad y sobre todo inter subjetivismos se pueden desarrollar. La teora detrs de esa investigacin es construida de las ideas de Trevarthen, Schumacher y Wimpory. Aparte de la investigacin y realizacin de una parte del tiempo y de los juegos de poli rtmica, se investigan tambin las intervenciones del terapeuta. Sobre todo se mirara la parte intuitiva y el sentimiento desarrollado. Al contrario que las teoras cognitivas hasta el momento expuestas (como TOM, teora de la coherencia central y de las disfuncionalidades ejecutadas), esta se centra en la importancia de de la accin recproca al compartir afectos en el contando con seres humanos.
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Music Therapy with Gifted Children for Enhancing Intrapersonal and Interpersonal Quality of Life
Wai Man NG
Abstract: Music therapy with gifted children is a rare area. Although gifted children are very high intelligence in some academic areas, some of them display low self-esteem, emotional and social problem. The study is to examine how music therapy intervention can improve their intrapersonal and interpersonal issues. Description Music therapy, around the world, generally serves people with special needs, weakness, illness, and disabilities. For gifted children, they are the talent in some academic areas at schools such as mathematic, language, art and music. Some people might ask, Gifted children are not patients. Why do they need music therapy? What can music therapy offer them? In 2007, I was invited to provide a short-term music therapy service (8 sessions) for a group of 12 gifted children (aged between 10 to 12). When I met the children, I did not feel any gift form their eyes, posture, attitude, and conversation. The social worker told me that although their academic level was excellent especially on the calculation, they showed very low self-esteem because of the competition, social relationship and family influence. Then, I established the goals with all the children in the first session. A series of music therapeutic activities such as composition, lyrics writing, facilitating drum circle and music performance had done within 8 sessions. At the end of the group, the children expressed that they had improved in some areas such as self-confidence, social skills and emotional expression. Their parents felt so proud of the childrens accomplishments during the final performance. In October 2007 and February 2008, I am going to conduct 2 researches in different primary schools in Hong King relating to the area of Music Therapy with Gifted Children. Both studies will focus on the whole process of music therapy intervention such as pre-test, goal setting, choice of musical material, choice of music therapy style, evaluation, and result. Hopefully, the studies will evoke another new aspect of music therapy, in order to take care of the gifted children, to help them to grow healthily, to develop their talent and contribute to the world. Presenter Name and Affiliation: Wai Man NG (Hong Kong Music Therapist, Chairperson of Hong Kong Music Therapy Association) Contact Information: Name: Wai Man NG (Mr.) Address: Room 3407, Un Fung House, Un Chau Estate, Sham Shui Po, Kowloon, Hong Kong Email: hkmusictherapist@yahoo.com.hk Mini Biography of Presenter: Wai Man Ng is a Hong Kong music therapist working with special needs children, psychiatric adolescences, elderly, and gifted children, and offering music therapy modules in the Hong Kong universities.

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Music and attention: A Stroop study in healthy subjects and patients with schizophrenia
Thomas Stegemann
Abstract: Cognitive functions are crucial for outcome and prognosis in schizophrenia. The aim of our study is to clarify the influence of music on cognitive performance. Neuropsychological data are obtained from patients with schizophrenia and controls while performing an attentiontask with or without listening to music. Results will be presented at the congress. Description: Previous studies have found that music yields positive effects on schizophrenic subjects. Especially cognitive functions, which have been identified as being crucial regarding outcome and prognosis in schizophrenia, seem to be a rewarding target for music therapy. Thus, in this study, we investigate the influence of music on cognitive performance. Using behavioural data in this preliminary study patients with schizophrenia and healthy subjects will be examined while performing an attention-task (Stroop test) with or without listening to music. Our hypothesis is that performance of patients will improve by listening to music and that better performance is associated with changes within the attention network and within areas that are involved in error detection which will be the focus of the upcoming fMRI-study. Results will be presented at the congress. Authors and Affiliations: Stegemann, T1, Galling, B2 & Huber, CG2 Contact Information: Dr. Thomas Stegemann, MD Dept. of Child and Adolescent Psychiatry University Medical Center Hamburg-Eppendorf Martinistr. 52 D-20246 Hamburg Telefone: ++49-40-42803-7445 Fax: ++49-40-42803-2409 e-mail: t.stegemann@uke.uni-hamburg.de Mini-Biography of presenters Thomas Stegemann, MD, studied guitar in Los Angeles, USA and medicine in Germany before he obtained his degree in music therapy in Hamburg, where he is currently working as child and adolescent psychiatrist.

Msica y atencin: El test de Stroop con probantes sanos y pacientes esquizofrnicos Sntesis: Las funciones cognitivas son esenciales para la terapia y el pronstico de esquizofrenia. La meta de nuestro estudio es clarificar la influencia de la msica en los rendimientos cognitivos. Datos del comportamiento fueron obtenidos de pacientes esquizofrnicos y sujetos sanos mientras realizaban tareas de concentracin, algunos a la vez escuchando msica y otros no. Los resultados sern presentados en el congreso. Descripcin: Estudios previos demostraron que la msica genera efectos positivos en sujetos esquizofrnicos. Especialmente las funciones cognitivas, las cuales han sido identificadas como esenciales con respecto a la terapia y el pronstico en la esquizofrenia parecen ser un objetivo til para las intervenciones musicales.A pesar de este estudio nosotros investigamos la influencia de la msica en los rendimientos cognitivos a travs del estudio de las reas cerebrales que son utilizadas.Los sujetos esquizofrnicos y sujetos sanos sern examinados mientras realizan una tarea de concentracin (Stroop-test) con o sin escuchar msica. Nuestra hiptesis es que los rendimientos de los sujetos esquizofrnicos van a mejorar cuando stos escuchen msica y que este mejor rendimiento sea asociado con cambios dentro de los sistemas de atencin y dentro de las reas que participan en la deteccin de errores. Los resultados sern presentados en el congreso. Autores y colaboradores Stegemann, T1, Galling, B2 & Huber, CG2 1) University Medical Center Hamburg-Eppendorf, Dept. of Child and Adolescent Psychiatry 2) University Medical Center Hamburg-Eppendorf, Dept. of Psychia84 try Contacto

Thomas Stegemann, MD Dept. of Child and Adolescent Psychiatry University Medical Center Hamburg-Eppendorf Martinistr. 52 D-20246 Hamburg Telfono: ++49-40-42803-7445 Fax: ++49-40-42803-2409 e-mail: t.stegemann@uke.uni-hamburg.de

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Cultural resonance presenting a model for engaging communities in music therapy provision
Angela Harrison
Abstract Records of a community-based music therapy charity demonstrate how the regional musical culture motivates people to help. With local statutory provision an exception, funding for sessions is generated through concerts/workshops, donations and grants. With this support, our clients access therapy to share more fully in the lives of their communities.

Description This paper will describe the activities of a rural charity, showing how the local community can be encouraged to resonate with the powerful processes of music therapy. The culture of the region has music at its heart and musicians of all calibres are eager to help our cause by performing to raise funds. Our therapists engage groups of people in our towns and villages in musical improvisation to excite interest in our work and support is offered in the form of money, goods, time and energy. The State Registration of Music Therapy in the UK has been a great landmark for our profession. It ensures that our therapists are qualified to the national standard and abide by the Code of Conduct, Performance and Ethics of the Health Professions Council. It does not, however, guarantee statutory funding. The dire financial situation within our local Health Trust means that they pay for only a small number of sessions and are currently unable to commission new services. By our system of raising awareness of the benefits of music therapy for the whole community, we attract support from many different sources, locally and nationally and are therefore able to provide a high percentage of our sessions free of charge. I will present in this paper the infrastructure required to work in this way and the results of many years of commitment to educating and inspiring the local community. Disability and illness have a huge impact on families and this can easily lead to isolation, loneliness and depression, problems already endemic in the countryside. In our dual role of providing stimulating musical experiences for our community and individual and group music therapy sessions for those most in need, we are making the very best of our skills as musicians and therapists. (To be presented in English)

Presenter Angela Harrison Biography Trained in Cambridge, Angela leads a music therapy charity in Yorkshire working mainly with children. Has presented papers for BSMT/APMT, CAMT and EMTC. Lectures at Universities of York and Huddersfield.

Contact Angela Harrison, NYMTC, 121 Town Street, Old Malton, North Yorkshire, UK. YO17 7HD Tel & Fax: 01653 698129 e-mail: info@music-therapy.org.uk

Proposal for XII World Congress of Music Therapy, Buenos Aires 2008

Resonancia cultural - presentacin de un modelo para comprometer a las comunidades con el aprovisionamiento musicoteraputico.

Abstract Los registros de una fundacin musicoteraputica comunitaria demuestran cmo la cultura musical regional motiva a la gente para ayudar. Con excepcin de las ayudas locales dispuestas por la ley, la financiacin de estas sesiones se genera mediante conciertos/talleres, donaciones y concesiones. Con esta ayuda, nuestros clientes acceden a una terapia que les permite participar plenamente en la vida de sus comunidades.
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Description

Este documento describir las actividades de una fundacin rural, demostrando cmo la comunidad local puede ser animada a resonar con los potentes procesos de la msico-terapia. La cultura de la regin tiene la msica en su corazn y msicos de todos los calibres estn impacientes por ayudar a nuestra causa a incrementar sus fondos mediante interpretaciones. Nuestros terapeutas captan a grupos de gente en nuestras ciudades y pueblos a travs de la improvisacin musical para suscitar inters en nuestro trabajo y se nos ofrece ayuda bajo la forma de dinero, mercancas, tiempo y energa. El Registro Estatal de Msico-terapia en el Reino Unido ha sido un gran punto de referencia para nuestra profesin. Se asegura de que nuestros terapeutas estn cualificados segn el estndar nacional y de que cumplan con el Cdigo de Conducta, Funcionamiento y tica del Consejo de Profesiones Mdicas. Lo que, sin embargo, no garantiza el financiamiento estatutario. La calamitosa situacin financiera dentro de nuestra Health Trust (Servicio pblico de Salud) local significa que pagan solamente un pequeo nmero de sesiones y es actualmente incapaz de encargar nuevos servicios. Mediante nuestro sistema de creciente concienciacin de las ventajas de la msico-terapia para el conjunto de la comunidad, conseguimos la ayuda de muy diversas fuentes, local y nacionalmente, y podemos por lo tanto proporcionar un alto porcentaje de nuestras sesiones gratuitamente. En este documento presentar la infraestructura requerida para trabajar de esta manera y los resultados de muchos aos de compromiso en la educacin e inspiracin de la comunidad local.

Presenter Angela Harrison Biography Trained in Cambridge, Angela leads a music therapy charity in Yorkshire working mainly with children. Has presented papers for BSMT/APMT, CAMT and EMTC. Lectures at Universities of York and Huddersfield.

Contact Angela Harrison, NYMTC, 121 Town Street, Old Malton, North Yorkshire, UK. YO17 7HD Tel & Fax: 01653 698129 e-mail: info@music-therapy.org.uk

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Piano-playing focused music therapy and MIDI analysis in neurological rehabilitation


So-Young Moon - Denise Grocke
Abstract This study examined the effects of piano-playing music therapy on the motor coordination of stroke patients using the MIDI-based analysis to measure finger coordination. Twenty participants were assigned to either a music therapy treatment group or a control group. Half-hour individual music therapy sessions comprising various piano-playing techniques were conducted three days per week for four weeks, consisting of 12 sessions in total. Using the MIDI analysis and five-point scale assessment, the participants finger movements were measured before and immediately after the interventions. The results showed statistically significant improvements in timing consistency, velocity evenness, accuracy and stability of synchronizing two-key striking. This indicates that piano-playing music therapy could be a viable intervention in rehabilitating motor coordination of chronic stroke patients. Description Rehabilitation of stroke patients with upper-extremity hemiparesis often focus on the gross motor functional training and less emphasis on fine motor coordination and control. Music therapy is used to complement upper-extremity rehabilitation but little attention has been given in contemporary research to the use of playing music instruments in developing unilateral and bilateral motor coordination in the hands and fingers. The purpose of this study was to examine the effects of piano-playing music therapy on the motor coordination of stroke patients using the MIDI-based analysis to measure finger coordination. Within a modified controlled trial, twenty participants were assigned to either a music therapy treatment group or a control group. Half-hour individual music therapy sessions conducted three days per week for four weeks, consisting of 12 sessions in total. Each session comprised various piano-playing techniques including 1) unilateral and bilateral finger exercises, 2) simple and complex melodic passages, 3) creative piano improvisation, 4) playing Korean traditional folk song melody based on penta-tonic scale. Using the MIDI analysis, the participants finger movements were measured before and immediately after the interventions. Five-point scale assessment was also undertaken as a secondary outcome measurement by a panel of three raters. The results of performance comparison between the groups in pre and post tests showed statistically significant improvements in timing consistency, velocity evenness, accuracy of key striking, and stability of synchronizing two-key striking. This indicates that piano-playing music therapy could be a viable intervention in rehabilitating motor coordination of chronic stroke patients. Further study is recommended to explore the efficacies of piano-playing music therapy on functional tasks in daily living activities related to motor control of stroke patients. Authors: So-Young Moon (Head of music therapy department, Myongji University, Seoul, Korea-south/ Ph D candidate, the University of Melbourne, Australia/ s.moon2@pgrad.unimelb.edu.au) Dr. Denise Grocke (Associate Professor, Head of Music Therapy & Director, National Music Therapy Research Unit, Faculty of Music, University of Melbourne, Victoria, AUSTRALIA/ d.grocke@unimelb.edu.au)

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Music Therapy and Pain Management


DEBORAH BENKOVITZ - Bonnie Buzzard
Abstract: Pain, an unpleasant sensory and emotional experience associated with actual or potential tissue damage, can be challenging to treat. Music therapy offers various ways to help patients cope with pain, including distraction, entrainment/relaxation techniques using music, and imagery with music. Description The International Association for the Study of Pain defines pain as an unpleasant sensory and emotional experience associated with actual or potential tissue damage, or described in terms of such damage. There are different kinds of pain, including acute, chronic, and recurrent. Growing evidence indicates that there is a strong correlation between our mental status and perception of pain, a result of the constant interactions and intercommunication between our physical and mental functions. Pain also has a protective factor, alerting us when we are out of balance (Kuttner, 1996). The treatment of pain is as complex as the understanding of pain, and there are many approaches to treatment. Music has the ability to influence us physically and emotionally, reaching areas that medications cannot reach, and changing us on many levels. For example, entrainment with music can help stabilize heart rhythms, and impact physiological signs such as blood pressure and respiration.. Music can additionally influence our emotions, and may distract, or have a calming effect. Music therapy works well with the gate control theory of pain, providing patients with distraction and pleasure, and disabling pain sensations from reaching the brain. A growing body of research is supporting the use of music therapy to treat pain. For example, Sahler, Hunter & Liesveld (2003) report that bone marrow transplant patients report less pain, and Noguchi (2006) reports that pediatric patients self-report less pain during injections when receiving music therapy. In a small study by Reilly (1996), patients had less pain after surgery when experiencing relaxing music before and after surgeries. During this workshop, pain theories will be discussed, including the gate-control theory, and the mind-body connection as it relates to pain. Various approaches to music therapy treatment of pain will be discussed and demonstrated.

Presenter: Deborah Benkovitz, LSW, MSW, MT-BC Bonnie Buzzard, MT-BC Contact Information: Deborah.benkovitz@chp.edu 412-692-6103 x2 Childrens Hospital of Pittsburgh 74 Waterfront Drive Pittsburgh, PA 15222

Deborah Benkovitz, LSW, MSW, MT-BC, is a music therapist and coordinator of music therapy internships with the University of Pittsburgh Medical Center in Pittsburgh, PA, USA, and adjunct professor of Music Therapy at Duquesne University. Bonnie Buzzard is a graduate of Slippery Rock University, completing her internship at Childrens Hospital of Pittsburgh

Musicoterapia y El Manejo del Dolor. Abstracto: El dolor, una experiencia sensorial y emocional desagradable asociada con dan o potencial de tejido y que puede exigir mucho esfuerzo para tratar. La Musicoterapia ofrece varios caminos para ayudar a los pacientes a manejar el dolor, incluyendo distraccio n, te cnicas de entretenimiento/relajacio n usando mu sica e ima genes con mu sica.

Descripcio n:

La Asociacio n Internacional para El Estudio del Dolor (The International Association for The Study of Pain) define el dolor como una experiencia sensorial y emocional desagradable asociada con dan o potencial de tejido. Hay diferentes tipos de dolor, incluyendo agudo, cro nico y recurrente. Hay evidencia de que hay una fuerte correlacio n entre nuestro estado mental y la percepcio n del dolor, como resultado de la constante interaccio n e intercomunicacio n entre nuestras funciones fi sicas y mentales. El dolor tambie n tiene un factor protector, nos alerta cuando estamos fuera de balance (Kuttner, 1996). 89 El tratamiento del dolor es tan complejo como el entendimiento o compresio n del dolor, y hay diferentes maneras de tratarlo. La

mu sica tiene la habilidad de influenciarnos fi sica y emocionalmente, llegando a a reas donde los medicamentos no pueden llegar y cambia ndonos en muchos niveles. Por ejemplo, la mu sica de entretenimiento puede ayudar a estabilizar el ritmo cardi aco, e impactar signos fisiolo gicos como presio n sangui nea y respiracio n. Adicionalmente la mu sica puede influenciar nuestras emociones, ayudar a distraernos y tener un efecto calmante. La Musicoterapia funciona bien con la teoria de Puerta de Control del Dolor (Gate Control Theory of Pain), proveyendo distraccio n y placer a los pacientes, y ayudando a aminorar las sensaciones de dolor que lleguen al cerebro. Cada di a hay una mayor cantidad de investigaciones que apoyan el uso de la Musicoterapia para tratar el dolor. Por ejemplo, Sahler, Hunter & Liesveld (2003) reportan que los pacientes de transplante de me dula o sea experimentan menos dolor, y Noguchi (2006) reporta que pacientes de pediatri a manifienstan menos dolor durante las inyecciones cuando esta n recibiendo Musicoterapia. En un pequen o estudio realizado por Reilly (1996), los pacientes sufrieron menos dolor despues de cirugi as al recibir mu sica de relajacio n antes y despues de las cirugi as. Durante este taller, teori as del dolor sera n discutidas, incluyendo la teori a de la Puerta de Control, y las conexiones del cuerpo-mente relacionadas con el dolor. Diferentes maneras de utilizar Musicoterapia para el tratamiento del dolor sera n discutidas y demostradas.

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Structured or unstructured I can make music with you!


Alexandra Georgaki - Gemma Lenton-Smith
ABSTRACT: Abstract in English: As music therapists working with adolescents with profound and severe learning disabilities, our interventions are frequency required to work with those who display particularly challenging behaviours. This paper will explore how the use of structured and unstructured music therapy interventions can help adolescents integrate and engage into the classroom setting. DESCRIPTION: As clinicians working in special needs schools for children and adolescents with profound and severe learning disabilities it is our experience that our interventions are frequency required to work with the children who display particularly challenging behaviour in the teaching environment and who find it difficult to integrate and engage into the classroom setting. Through music therapy intervention we are able to use a more holistic overview for the child, meeting them at their level, through using aspects of Winnicotts development theories of creative play. Creating a safe environment for a child, through use of play, enables them to have a positive experience of developing a therapeutic relationship with the therapist and to develop skills to help them successfully integrate and cope in the classroom setting. This paper will discuss the role of music therapy in helping clients with particularly challenging behaviour and how they were able to develop skills for the classroom setting. We will consider how close working with teaching staff can make this type of work more successful for the child, teaching staff and the therapist. Individual case studies will be discussed to highlight the clinical effectiveness of this particular way of working. The first part of the presentation will highlight how through use of structured sessions using the classroom format and structures deriving form the TEECH method children and adolescents were able to engage for extended periods of time demonstrating no behavioural outbursts and developing trust to be in close proximity to the therapist. At the second part of the presentation, a case study will illustrate how through lack of structure, but strict time boundaries, a child was able to engage in therapy for up to 20 minutes and become more creative and flexible within play. Both case studies will demonstrate how each of the clients behaviour changed over-time and how this affected the clients behaviour back in the classroom setting. This work has been taken from special needs schools in Hertfordshire, Harrow and Berkshire.

Alexandra Georgaki: Gemma Lenton-Smith:

Music Therapist Music Therapist

CONTACT DETAILS: Gemma Lenton-Smith Address: 24 Kersfield House, 11 Kersfield Road, Putney, SW15 3HJ E-mail: gals81@yahoo.com Tel. No: 07824617018

Con estructura sin ella? Vamos a encontrar un medio!

Abstracto: Trabajando en educacin especial como musicoterapeutas encontramos nios y adolescentes que no se logran su mayor potencial en sus clases debido a su comportamiento desafiante. sta presentacin explorar y discutir el uso de la estructura de una estructura muy flexible en el tratamiento para habilitar y facilitar una conexion entre los pacientes y la terapeuta. En paralelo exploraremos como las musicoterapeutas adaptan su manera de trabajar con las necesidades individuales de sus pacientes. Descripcin: Al trabajar como clinicos en educacin especial con nios y adolescentes con necesidades educativas profundas y severas, frecuentemente encontramos un comportamiento desafiante en los pacientes. El entorno educativo genera en nuestros pacientes un comportamiento desafiante mismo que les genera dificultades de integracin y dedicacin para las clases. La intervencin de Musicoterapia utiliza una vista mas holistica del paciente, y procura encontrar el nivel adecuado de los pacientes utilizando aspectos de las teorias del desarrollo de Winnicott sobre el juego creativo. Los pacientes que estn en un ambiente seguro, creado con el uso del juego, tienen la experiencia positiva de desarrollar una relacin terape91 utica con la terapeuta lo que les permite desarrollar habilidades para integrarse al ambiente del salon de clases. ste trabajo discutar el uso de sesiones con y sin estructura en Musicoterapia que ayuda a pacientes que muestren un comportamiento desafiante. Por otro lado, discutar como los pacientes fueron capaces de desarrollar

habilidades dentro del ambiente educativo. Mostraremos tambien la importancia de la colaboracin directa de la terapeuta con el personal didctico lo que ayuda a que su trabajo tenga buenos resultados para los pacientes, el personal didactico y la terapeuta. El trabajo presentar estudios clinicos para destacar la efectividad clinica de ste tipo de trabajo. Un parte de la presentacin discutir el uso de una estructura estricta (utilizando elementos de mtodo TEEACH) en Musicoterapia con adolescentes con necesidades educativas severas. Se presentar la forma en que la estructura le es til al terapeuta y los pacientes. En este studio clnico, los pacientes mostraron inters profundo y extenso y fueron capaces de desarrollar el sentido de confianza en la terapeuta. Aunado a esto, no se encontraron incidentes de mal comportamiento. La segunda parte del trabajo incluir dos estudios con dos nios, uno con sndrome de Dawn y otro con dificultades emocionales y de comportamiento y con necesidades educativas secundarias. Los estudios discutirn como los pacientes se hicieron mas flexibles y creativos en sus juegos por sus sesiones de musicoterapia sin estructura. Las dos partes del trabajo presentarn como cada paciente cambio en su comportamiento con tiempo y como esto influyo en su participacin en su clase.

Las dos presentadoras trabajan en escuelas especiales en Hertfordshire, Northolt, Barnet y Berskire, Reino Unido. Idioma de presentacin: Ingls Presentadores: Alexandra Georgaki y Gemma Lenton-Smith (Musicoterapeutas) Informacin de contacto: Gemma Lenton-Smith Directin: 24 Kersfield House, 11 Kersfield Road, Putney, SW15 3HJ Tel: 00447824 617 018 Direccin de correo electrnico: gals81@yahoo.com

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Music Therapy applications and social context in Italy: the esperiences of Confiam Associations
Fois Rossella - Foti Bruno
Abstract Confiam, Italian Confederataion of Music Therapy Associations, for 14 years has been managing 20 associations, being particularly representative of Italian music therapy situation. By means of the associations data we present a view over the most frequent applicative situations and we develop a series of reflections on the social context that influences them. Description (English) Since the early 80s, when Italian MT started, the spread of this discipline has been influenced by two apparently conflicting factors, both decisive as to their consequences: on one side, at the bureaucratic level, the MT expert has no legal acknowledgement, on the other the fact that some health treatments have been permeated by and showed great interest in Mt intervention. Universities and music schools have such a limited interest in starting training courses on MT because of the lack of legal acknowledgement of the MT profession that MT training is entirely in the hands of private associations. The large employment of MT experts in many different sectors has caused a rising request of training courses and the gradual creation of new schools run by private associations all over the country. As a consequence, 14 years ago, CONFIAM (Italian Confederation of Associations and schools of Music Therapy) was started up in order to establish common rules and professional and educational standards in all different areas of the whole country. Association-run training courses, because of their obvious financial restrictions, are mainly focused on rehabilitation that, on one side, meets the real needs of any changing social context, but, on the other, doesnt satisfy other specific requests closely connected to the quickly changing society that would imply experts specialised in prevention and, even if not as important, therapy. The European perspective, furthermore, urges the renewal of the Music Therapist profile: the possibility of free practice of MT experts within the European Community and the already- started process towards the professional recognition of the Music Therapist in the European Union. Nowadays, the main challenges for CONFIAM are: a- to spot out a different type of MT expert; b- to exploit experiences from all CONFIAM associations; c- to increase the exchanges with the institutions for cooperation and synergic actions.

Las aplicaciones de la Musicoterapia y el contexto social en Italia: las experiencias de las Asociaciones Confiam Abstract Confiam, Confederacin italiana de asociaciones de musicoterapia, maneja desde hace 14 aos 20 asociaciones, siendo particularmente representativa de la situacin de la msicoterapia en Italia. A travs de los datos suministrados por las asociaciones, presentaremos una panormica sobre los mbitos de aplicacin ms frecuentes y desarrollaremos una serie de reflexiones sobre el contexto social que las influencia.

Description (Spanish) Desde los primeros aos 80, perodo en l que podemos colocar las orgenes de la musicoterapia italiana, la difusin de la disciplina progres bajo la influencia de dos importantes factores, en parte contradictorios, determinantes para una concatenacin de consecuencias: por un lado la circunstancia burocrtica que vee la profesin de Musicoteraputa no leglmente reconocida; por el otro, la existencia de contextos de salud que, no obstante eso, se revelaron particularmente permebiles e interesados a la oferta de intervenciones musicoteraputicas. El no reconocimiento legal de la profesin determina, por parte de las instituciones universitrias y acadmicomusicales, el permanecer de un inters muy reducido con respecto al encauzamiento de cursos de formacin, y en consecuencia que desde siempre la tarea formativa esta realizada casi exclusivamente a nivel particular o asociacionstico. La absorcin de oferta profesional en particulares mbitos determin un aumento de la demanda formativa y el progresivo nacimiento de escuelas manejadas por asociaciones en todo el territorio nacional. Esta situacin llev, desde ya hace 14 aos, a la creacin de la Confiam (Confederacin italiana de asociaciones y escuelas de musicoterapia), nacida por una necesidad de autoregolamentacin y de uniformidad con respecto a los estndares profesionales y formativos, adems de las siempre existentes diferencias socio-culturales de las diferentes zonas del Pas. La realidad de una formacin manejada por asociaciones circumscrive, por evidentes razones econmicas, la figura profesional del musicoteraputa entre limites precisos, orientndola preponderatamente en el mbito de la rehabilitacin. Por un lado, eso consente enfrentar exigencias reales de intervencin que radcan en el contexto social y en sus cambios, pero, por el otro, desatiende contemporaneamente otras exigencias, al igual vinculadas a las transformaciones sociales en acto, que necesitaran profesionales especializados especificmente en intervenciones en el mbito de la prevencin y, aunque en medida reducida, en el mbito teraputico. Adems otros factores sociales de tamao europeo, empujan hacia una renovacin de la profesin: la libertad de ejercicio de la profesin por parte de musicoteraputas provenientes de otros paises de la Comunidad Europea y el proceso empezado que llevar a la definicin de una figura profesional reconocida por la Unin Europea. Hoy da pus el desafo por la Confiam es individuar una figura profesional con rasgos diferentes, evaluando las experiencias de su propias asociasiones y ampliando el dilogo con interlocutores institucionales en un proceso de colaboracin y sinergia.
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Autors: Fois Rossella, Foti Bruno mail contact

arttem@libero.it

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Un examen multi-cultural de musicoterapia para agonizantes y sus familiares


Laura Pawuk - Jessica Shaller
Resumen: Los participantes revisarn perspectivas culturales del proceso de muerte en los pacientes y sus familias usando experiencias de tipo interactivo. Utilizando elementos audiovisuales de nios y adultos, se sealar este lenguaje universal de la msica y el arte y su poder a travs de las barreras culturales. Descripcin: Una gran variedad de influencias culturales afecta la muerte de una persona y el proceso de duelo de su familia. Las familias difieren en perspectivas culturales sobre la muerte, la manera de controlar el dolor, la inclusin de los nios, la vida despus de la muerte, el proceso de duelo, como tambin la cultura propia de cada familia y su estilo de comunicacin. Estos factores influyen en el enfoque y aplicacin de la musicoterapia. Los participantes tendrn la oportunidad de reflejarse personalmente en sus reacciones en una presentacin audiovisual que incluye imgenes y grabaciones del trabajo de las musicoterapistas al final de la vida de sus pacientes y del proceso de duelo. Este taller aprovechar la riqueza de experiencias con pacientes con enfermedades terminales debido a la diversidad cultural de la audiencia y a travs de discusiones interactivas de cmo las culturas de todo el mundo enfocan y manejan el proceso de muerte y duelo en nios y adultos. Los temas principales de esta discusin, podrn incluir: perspectivas tnicas y religiosas, comunicaciones verbales y no verbales, normas y expectativas, diferencias entre el cuidado de nios y adultos, el papel de la familia, rituales del final de la vida, normas del entierro, y perspectivas del duelo. Se analizarn tambin a travs de demostracin y discusin los paradigmas del pensamiento de acuerdo a la mente, cuidado del espritu y el cuerpo, y los beneficios de la musicoterapia como proveedora de estmulos que afectan a los individuos y su familia. Con una presentacin audiovisual, creada por nios en las ltimas etapas de su vida y del proceso de duelo, se sealar la importancia del uso universal del arte, especialmente la musicoterapia. Sern discutidos ejemplos de escrituras y grabaciones de canciones, experiencias musicales Gestlticas, dibujos mandala para msica e improvisacion musical. Laura Pawuk, MM, MT-BC, CLP Jessica Shaller, MM, MT-BC, CLP

A Multi-Cultural Examination of Music Therapy for the Dying and Their Families

Laura Pawuk, MM, MT-BC, CLP Jessica Shaller, MM, MT-BC, CLP Abstract: Music therapy plays a unique role in supporting the dying and bereavement processes. Participants will examine cultural perspectives on dying across the lifespan through interactive experientials. A multi-media presentation highlighting the music and artwork of children and adults celebrates these universal languages and their power to cross cultural barriers. Description: A wide variety of cultural influences affects each persons death and the familys bereavement process. Differing cultural perspectives on death, pain management, inclusion of children, an afterlife, the grieving process, as well as each familys unique culture and communication style, influence the application and approach of music therapy. Participants will have the opportunity to personally reflect on their reactions to a multi-media presentation including images and recordings from the work of music therapists in end-of-life and bereavement care. This workshop will celebrate the rich diversity of the audiences experiences with the dying through interactive discussion of how cultures from around the world approach and handle the dying and bereavement processes among children and adults. Focal points of this discussion may include: a) ethnic and religious perspectives, b) both non-verbal and verbal communication norms and expectations, c) differences between child and adult care, d) the role of family, e) end-of-life rituals, f) burial norms and g) perspectives on grieving. 1. The unique roles that music therapy plays in supporting the dying process and bereavement across differing cultures will be shared. Paradigms of thought regarding mind, body and spirit care, and the benefits of music therapy as a mediating stimulus to affect these aspects of the individual and their family, are examined through discussion and demonstration. The universal use of the arts, especially music therapy in the care of dying children and the bereaved, will be highlighted with a multi-media presentation of music and artwork created by children at the end of life. Examples of song-writing, song-recording, musical Gestalt experiences, mandala drawing to music and instrumental improvisation are discussed.
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2.

CONTACT INFORMATION: Laura Pawuk MM, MT-BC

Rainbow Hospice, Inc. 444 N. Northwest Hwy. Ste 145 Park Ridge, IL 60068 Phone 847-685-9900 x2140 Fax 847-685-6390 laurapawuk@gmail.com MINI BIOGRAPHY OF PRESENTERS: (30 words maximum per person). Laura Pawuk, MM, MT-BC, Music Therapist from Rainbow Hospice in Chicago, is a Lecturer at Northwestern University and the University of Illinois-Chicago. She presents regionally and nationally on music therapy. Jessica Shaller, MM, MT-BC is the Music Therapist for Willamette Valley Hospice in Oregon. Jessica is a clinical supervisor; guest lecturer; national presenter and published author on music therapy.

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When children sing


Johanna Bosse
Abstract: In August 2007 I observed and filmed an intense cultural workshop for children in Quito, Ecuador, in order to learn about the childrens individual development while being part of an artistic community and preparing for and going through performance. Description: A special project was the research field for my master thesis of musictherapy at the University of Applied Science in Frankfurt, Germany: The workshop was iniciated by the local Fundacion Nacional Teatro Sucre (Quito) in order to achieve a functional children choir for the opera, but was connected to a social idea, because it was free of fees and therefore united children of all social classes. There were almost a hundred children of age 6 to 14 who met and worked dedicatedly for 11 days in a row and presented a wonderful performance with singing and dancing. Some of them had never had any musical education before. My work tries to give a picture on some of the individual experiences they went through on such an intense confrontation with music, dance and theatre and is focusing both on the development of the ability to sing in a choir and the personal development that comes along with the musical ability. Especially the singing and vocalization training seemed to have a deep impact on the children, so the identificational aspects of discovering their own voice are very important, along with the experience of being part of something beautiful being created. Ecuador seems to be a nation where neither music-education nor music-therapy seems to be spread too much, but music definitely is alive in the culture, its like digging up a treasure says the German-Japanese children-choir-director Yoshihisa Matthias Kinoshita who taught the workshop along with three Ecuadorian teachers thinking not only of the treasure of musical abilities but also of the personal worlds behind them which found new ways of self-expression and growing.

Presenter: Johanna Bosse (MA) Nettelbeckstr. 25 28201 Bremen, Germany 0049 421 5009739 johanna.bosse@gmx.de Biography: Born 1979 in Germany, 1996 and 1999 volunteering in Bolivia 2005 diploma in music teaching in Bremen, Germany 2008 master of arts (musictherapy) in Frankfurt, Germany

Nios cantando

Resumen: En agosto del 2007 tuve la posibilidad de observar y filmar un taller cultural muy intensivo para nios en Quito, Ecuador. Mi meta fue aprender sobre los desarollos individuales de los nios al ser participantes de una comunidad artistica y al prepararse para una presentacion y vivir esa experiencia.

Descripcin: Para escribir mi tesis de musicoterapia (en la universidad de ciencias aplicadas en Frankfurt, Alemania) eleg un proyecto especial: la creacin de un coro de nios en Quito, Ecuador. El curso ha sido iniciado por el teatro Fundacin Nacional Teatro Sucre para conseguir un coro de nios capaz de cantar en las operas, pero tambien exista una intencin social: era gratuito y por eso juntaba nios de todas las clases sociales. Casi cien nios de 6 a 14 aos se encontraban y trabajaban arduamente. Luego de once das mostraron su trabajo en el escenario. Fue una presentacin maravillosa en la que los nios cantaban y actuaban la historia de Juanita. La mayora de ellos nunca haba tenido educacon musical anteriormente. Mi trabajo quiere presentar una imagen de esas experiencias individuales que fueron iniciadas a traves del contacto intensivo con la vivencia de las artes msica, baile y teatro. El desarollo de la aptitud de cantar amplific las posibilidades de expresarse y abri un nuevo mundo de desarollo personal. Descubrir la voz personal tiene importancia para la formacin de la identidad y tambien lo tiene la 97 experiencia de ser parte de algo lindo que est creandose en ese momento. Al parecer en Ecuador es muy limitado el acceso a la educacin musical y a la musicoterapia, pero la musica est viva en esa cultura. Es

como descubrir un tesoro dice el director Yoshi Kinoshita (aleman-japones) que fue el profesor del curso junto con tres profesores ecuatorianos. l no solamente pensaba en el tesoro de las aptitudes musicales sino tambien en los mundos personales que venan con ello y que encontraron nuevos caminos de expresarse y crecer.

Presentadora: Johanna Bosse (MA) Nettelbeckstr. 25 28201 Bremen, Alemania 0049 421 5009739 johanna.bosse@gmx.de

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Evaluating Community Music Therapy: A Research Paper from the UK


Stuart Wood
Abstract This paper reports on a pilot evaluation study of innovations in practice among music therapists in nursing homes across the UK. Using methods drawn from Grounded Theory and Action Research, the study investigates the reflections of music therapists on the problems they encounter and the solutions they create.

Description Community Music Therapy resists definition as a formal title. It is, in Ansdells words, a different thing for different people in different places (2004:17). The term Community Music Therapy denotes a broad range of practices, (Stige, 2003; Darnley-Smith, 2003; and Ansdell, 2003, for example). In some respects it actively rejects formulation, as in Ansdells short definition: Community Music Therapy is an anti-model that encourages therapists to resist one-size-fits-all-anywhere models (of any kind), and instead to follow where the needs of clients, contexts and music leads. (Ansdell 2003). The range of Community Music Therapy practices have in common a status in the profession as innovations in practice. In this study, instances of innovation are put forward by participating music therapists themselves. It is their thinking about the examples they bring that forms the starting point for the research project. While other music therapists may not consider certain practices to be new, or indeed to be music therapy, this study aims to collect examples of practical experience in which music therapists have felt drawn into areas of work by clients that they themselves would not recognise from their heritage or training. Examples of this experience have been identified by Pavlicevic & Ansdell (2004). This study aims to build upon this style of collection, and explore music therapists reflections on such examples. The purpose of this pilot study is to explore the issues around evaluation of innovative practice. By exploring the reflections of music therapists about their own clinical innovations or challenges, the study will aim to identify the core values and theoretical frameworks that underpin this rich and varied discourse.

Bio: Stuart Wood is the Head Music Therapist for the Barchester Nordoff-Robbins Music Therapy Initiative. He is an author on music therapy, and has research interests in Arts in Health. Contact information: stuart@matrixmusic.org (44) 1494 565015 Pigotts, North Dean, High Wycombe, Bucks, HP14 4NF, UK

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Exiperience of music therapy in kids affected by P.C.I.


Restuccia, Apolo
Abstract: The poster present the music therapy procedure carried out at the Rehabilitation Centre located in Fratta Todina (Italy). The aim of this presentation is mainly to analyse the cooperation that can be created among music therapists, with particular emphasis on the interaction between individual and group treatment. Description The poster describes the work carried out by two music therapist of the Rehabilitation Centre Centro Speranza located in Fratta Todina, Italy. The main purpose of this presentation is to highlight the synergy between the two operators, one being focused on the group therapy while the other specialized in individual interventions in kids affected by P.C.I. In particular, a tool named cooperation file is presented. In this file, the two operators have to report not only their experience, but also a detailed description of the sounds created; in this way a large library of sounds is constantly available. A workgroup team of music therapists facilitate also the integration with several educative/rehabilitative workers already available in the Centre. Starting from this cooperation new musical instruments have been developed, that can facilitate the sound production as well as the music gesture, this latter being often limited in handicapped kids. Contact: fahre77@yahoo.it

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Musica del cuerpo y mente: el violin y el paciente Alzheimer


Silvia Ragni - Cristina Bernard - Renata Mateelli - Alessia Fiandra - Mauro Massei - Nachiko Nagasawa Valeria Colangelo - Alessandra Tognetti - Luisa Bartorelli
Resmen: Este proyecto, dirigido para enfermos de demencia Alzheimer, usa el violin en musicoterapia. Violin escuchado por los pacientes y tocado por ellos segun esta metodologia especifica. Test psicocognitivos y musicales evaluan la eficacia de la intervercin que tiene el objetivo de ejercitar las funciones cognitivas, motorias y conservar la identitad.

Descripcin En el setting musicoterapeutico el violin normalmente no est utilizado por sus dificultades tecnicas. En este proyecto, es valorizado por sus cualidades sonoras, su pertenencia al mundo cultural del anciano, y por la particularidad de la posicin con la cual se toca: a contacto con el cuerpo, entre los brazos, conectando a travz de su vibracin: cuerpo, mente, y alma. Participantes: 16 enfermos de demencia Alzheimer, que frecuentan un centro de rehabilitacin. Divididos en grupos de 4, los pacientes asisten a 20 sesiones, de 45 minutos, dos dias por semana, realizadas por la musicoterapeutapsicologa y la violinista profesional. Estn presentes: observador que detecta las variaciones, videoterapeuta que filma el trabajo y fisioterapista que observa la motricidad. La experimentacin tiene lugar en el marco de un equipo multidisciplinario, con la supervision cientifica de la geriatra y de la psicoterapeuta. La sesion est dividida en: fase de escuchar: en vivo los pacientes escuchan temas musicales pertenecientes a su ISO cultural, investigado a travez de una ficha musicoterapeutica anamnestico-evaluativa. A travez de escuchar los distintos generos musicales y el dialogo que se desarrolla, los pacientes estan invitados a ejercitar las funciones cognitivas (memoria a largo, corto plazo, lenguaje, atencin). Adems se estmula la memoria autobiografica y emocional a travz de la msica. Se establece un clima de relacion entre las personas . Fase practica: los pacientes utilizan el violin directamente . A travz de un recorrido simple y estructurado, ellos estan guiados al descubrimiento del instrumento y de sus cualidades sonoras por la musicoterapeuta y la violinista, la cual toca juntos con los pacientes, dialogos musicales, improvisaciones, y musica conocida por ellos. La experimentacin, de la cual se producirn los resultados, involucra al paciente y su memoria autobiografica, produciendo momentos de gratificacin , mayor autostima y percepcion de autoefficacia al tocar juntos.

Nombre y datos del autor o autores: Silvia Ragni, musicoterapeuta,psicoterapeuta, violinista, psicologa; Cristina Bernard, fisioterapista; Renata Mateelli, infermiera; Alessia Fiandra, psicologa; Mauro Massei, musicoterapista; Nachiko Nagasawa, violinista-musicoterapista, Valeria Colangelo, videoterapeuta, Alessandra Tognetti, supervisore scientifico; Luisa Bartorelli, geriatra. -Centro diurno Alzheimer La Cornucopia, Unidad de reactivacion geriatrica, - Clinica Sacro Cuore, Roma. Contacto: Silvia Ragni, piazza Melozzo da Forl 4/d , 00196, Roma, Italia. Tel: 0039 339 2345089, . Email: silvia.ragni@fastwebnet.it Mini Biografia del presentador SILVIA RAGNI ( Perugia, 1962) Diplomata en violin, en musicoterapia, psicologa, psicoterapeuta. Coordina el Centro diurno Alzheimer para pacientes dementes en la Unidad de reactivacin geritrica, Sacro Cuore di Roma. Docente de psicologa y musicoterapia

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Music Therapy with oncological patients


Giuliana Nataloni
Abstract Since May 2006 the Psycho-oncology service of the Department of Oncology of Perugia (Italy) has opened a music and art laboratory for psychotherapy with cancer patients. We intend to improve life quality and to give an important reference-point for people that face the difficult and stressing path of oncological desease..

Description Since May 2006 the Psycho-oncology service of the Department of Oncology, Haematology and Biological Science of Perugia (Italy) has opened a music and art laboratory for psychotherapy with cancer patients. We offer individual and group therapy where verbal and nonverbal languages (music, drawing, plastic art, dance, poetry) are integrated, consonant with patients desires and life history. The patients group is opened and affected from different neoplastic pathologies, that are undergoing, or underwent to oncological therapy. New members can be added after an evaluation carried out by the psychiatrist. The laboratory is leaded by 2 music therapists: a psychiatrist ( psychotherapist and art therapist) and a psychologist. Also, we have two trainees: a psychiatrist and a counsellor, both in training. The sessions take place once a week and last for two hours. About fifteen patients can be accommodated in the large room that was put to our disposal free of charge, in a building near the hospital. This intervention has different aims: 1- To improve life quality, even reducing psychiatric co-morbility, that is often present in oncological patients. 2- To influence on outliving by comprehending and elaborating patients life and neoplastic story. Emotions communicated through the music and the art are more easily expressed because at the same time, they are both hidden and revealed through the artistic medium. 3- To give, by the group, an important reference-point for people that face the difficult and stressing path of oncological desease. We think that the therapeutic alliance, when mediated by the language of music and art, is particularly immediate and profound, directly addressing the patients areas of conflict. The non-verbal language can go side-by-side with verbal expression in psychotherapy with cancer patients. Moreover themes that are difficult to verbalize, such as death, can be explored more comfortably through music.

Presenter name Giuliana Nataloni, psychiatrist, psychotherapist, professor of piano, music and art therapist. Perugia (Italy)

Contact information Giuliana Nataloni Via del Capricorno 18 Perugia Italia giuliana.nataloni@fastwebnet.it 00393470840126

Mini biography of presenter Giuliana Nataloni, psychiatrist, psychotherapist, professor of piano, music and art-therapist, works in Perugia (Italy). For years she has been doing research on non-verbal therapies with psychotic and oncological patients .

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Undo My Fears, Unsuffer Me


Irit Sharir
Abstract Traumatic events tend to leave their vast imprint on people who happened to deal with it physically and emotionally. Music and imagery provide a way of coping with traumatic events and their consequences as well. This presentation will investigate the phenomena of coping through therapy with music and imagery. Description: Being diagnosed, as cancer patient facing a life threat, and going through chemotherapy is difficult enough, physically and emotionally and it has its traumatic effect for sure. But the threat of being diagnosed for the second time with another type of cancer can be unbearable and can lead a person into the horror of strong anxiety with no strength to fight back. By working through music and imagery this client could connect to her resources and manage her anxiety, which enabled her to go through that waiting period for her medical tests results. That impossible waiting period pointed toward the subject of coping, which brought the need to study and understand the whole area of the coping mechanism. There will be an attempt to investigate as well the therapeutic process through music and imagery, which accompanied and helped the coping process. This will be addressed through music imagery, personal process, interviews and case studies. Will it help to undo fears???

Presenter Name: Irit Sharir, MA Contact Information: Irit Sharir 29 Carmel st. K. Tivon 36081 ISRAEL Tel. +972-4-9837018 Fax +972-4-9830396 Email: iritsharir@gmail.com

Mini Biography of presenter: Irit Sharir, (MA), musicologist, registered music therapist and a supervisor. She works with autistic children. She maintains a private practice where she works with adults individuals and groups, run workshops and host supervision groups.

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Beyond Community Music Therapy: Can an experimental musician be a music therapist?


Rii Numata
Abstract: This paper presents the findings from the music project with handicapped people, musicians including Yoshihide Otomo, Japanese leading figure in experimental music, and music therapists, which aimed to create and present new improvisational music style. The idea of Art Brut was highly referred in this project. Description: This paper presents the findings from the authors doctors research conducted at Kobe University Japan, which discusses on creative activity by collaboration of therapists and clients in music therapy. At the last world congress of music therapy in Brisbane, I made a presentation on the possibility of the community music therapy where the different values of music co-existing together by introducing the ideas of new music and free improvisation. However, the focus was put more on forming a community and less on the musical quality or style. So far the importance of social aspect in community music therapy has been stressed by Stige, Ansdell and others, but not much for musical perspective. Should the music out of these activities be regarded as only a process of music therapy? Or can we regard them as work of art? For discussing this issue I referred the idea of Art Brut, the works created by handicapped people or self taught makers. Then I decided to conduct the music project focuses exclusively on music making itself with the member of handicapped people such as Down Syndrome and autism, musicians who are leading figures in the field of experimental music or improvisation like Yoshihide Otomo, and local musicians around Kobe. The project was granted by Able Art Japan Company, and presented its outcome in three different concerts from September 2005 to October 2006. As we worked together, the handicapped participants have exploited their way to perform and their parents became more confident about their children on stage. Interesting enough to say, the music was enthusiastically accepted from both new music side and welfare side. I would like to show these activities with video and CD excerpts.

1.

PRESENTER NAME(S) AND AFFILIATION(S): Rii Numata, PhD

2. CONTACT INFORMATION: (name, address, telephone, fax and email of one contact person). Name: Rii Numata Address: Shinohara Obanoyama 3-1-3-201, Nada, Kobe-city, Hyogo, 657-0015, Japan Telephone: +81-78-802-0515 E-mail: riinumata@r8.dion.ne.jp 3. MINI BIOGRAPHY OF PRESENTERS: Rii Numata teaches music therapy at Chugoku Junior College, Japan. She works with handicapped people and conducts music project with them.

Del otro lado de la Comunidad Musicoteraputica: Puede un msico que experimenta ser musicoteraputa?

Abstract: Este trabajo presenta los hallazgos de un proyecto musical con personas con discapacidad, msicos, incluido Yoshihide Otomo, un japons lder en msica experimental, y musicoteraputas, cuyo objetivo es crear y presentar un nuevo estilo de msica improvisacional. La idea de Arte Brut fue una referencia muy importante para este proyecto. Description: Este trabajo presenta los hallazgos de la investigacin doctoral del autor llevado a cabo en la Universidad de Kobe en Japn, en donde debate sobre actividades creativas en colaboracin con terapeutas y pacientes en musicoterapia. En el ltimo Congreso Mundial en Brisbane, realice una presentacin sobre la posibilidad de la comunidad musicoteraputica donde los diferentes valores de la msica coexisten juntas, introduciendo las ideas de nueva msica y libre improvisacin. Sin embargo, el acento fue puesto ms en formar una comunidad que en la cualidad o estilo musical. Hasta el momento, el tema sobre la importancia de los aspectos sociales en la comunidad musicoteraputica ha sido agotado por Stige, Ansdell y otros, pero no muy desarrollado desde la perspectiva musical. La msica fuera de estas actividades debera ser considerada solamente como un proceso de musicoterapia? O podemos considerarlas un trabajo del arte? Para debatir este tema yo presento la idea de Arte Brut, el trabajo creativo realizado por personas con debilidad mental o los autodidactas. Luego he decidido conducir el proyecto musical focalizado exclusivamente en la realizacin de msica con personas discapacitadas como Sndrome de Down y autismo, msicos quienes eran figuras lideres en el rea de msica experimental o improvisacin como Yoshihide 104 Otomo, y msicos locales alrededor de Kobe. El proyecto fue creado por Able Art Company (Compaa de Arte Posible), y presentado sus resultados en tres conciertos diferentes desde Septiembre 2005 hasta Octubre 2006. Como nosotros trabajamos juntos, los participantes

discapacitados explotaron sus formas de tocar y sus padres se sintieron ms seguros sobre sus hijos en el escenario. Vale la pena comentar, que la msica fue aceptada con mucho entusiasmo tanto por los nuevos msicos cmo por los asistentes sociales. Me gustara mostrar estas actividades a travs de videos y CD.

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Researching Music Therapy Support for Siblings of Children who Die from Cancer
Robert E. Krout
ABSTRACT This session will describe a current research project providing music therapy support to siblings of children who are diagnosed with, and subsequently die from a terminal cancer. The initial adjustment of the bereaved siblings, as perceived by their parents or caregivers, is being measured as a main dependent variable. Esta sesin describir un proyecto de investigacin actual que proporciona la ayuda de la terapia de la msica a los hermanos de los nios con quienes se diagnostican, y morir posteriormente de un cncer terminal. El ajuste inicial de los hermanos privados, segn lo percibido por sus padres o caregivers, se est midiendo como variable dependiente principal. DESCRIPTION The use of creative music therapy experiences in grief interventions for bereaved children and adolescents to help them with issues relating to the validation, identification, clarification, normalization, and expression of feelings and emotions has been described by a number of authors and clinicians. At pediatric cancer treatment hospitals, there may be a need for bereavement services to begin as soon as possible after a terminal prognosis has been made by physicians. Unfortunately, few pediatric patients and their families receive hospice services and the inclusive bereavement care which comes as part of hospice. In addition, bereavement services offered by outside agencies may not begin until months after the patients death. There have been relatively few research studies in the area documenting effectiveness of music therapy interventions in support of bereaved siblings. In addition, few studies have measured the initial adjustment and coping of bereaved siblings due to interventions such as music therapy and other creative arts therapies. The current two-year project, taking place at a major pediatric cancer hospital in Dallas, Texas, is designed to compare current practice (control) and music therapy (treatment) support to bereaved siblings of children who are diagnosed and subsequently die from a terminal illness related to cancer. This is intended to assess the efficacy of providing more immediate bereavement support to the siblings than is currently part of the current treatment practice model with these families. The initial adjustment of the bereaved siblings, as perceived by their parents or caregivers, is being measured as a main dependent variable. Three measures are being used, and data are being collected via phone surveys with parents pre-test, and after each of three music therapy sessions. Siblings are also providing posttest and exit interview data regarding their experiences.

Investigando la ayuda de la terapia de la msica para los hermanos de los nios que mueren de cncer

PRESENTER Robert E. Krout, EdD, MT-BC Director of Music Therapy Meadows School of the Arts Southern Methodist University Dallas, Texas Phone 214 450 9310 rkrout@smu.edu

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Treatment Planning and Documentation in Single-Session or High-Turnover Situations


Karen Miller
Tratamiento de Planificacin y documentacin en una sola sesin o de alto volumen de negocios Situaciones" ABSTRACT When music therapists and practicum students see patients for very brief treatment and are given limited background information, they need the ability to instantly assess needs and develop a plan, as well as to track client progress within one or two sessions. The presenter addresses those needs through a template designed for use in medical settings. Cuando la msica terapeutas y estudiantes de prcticas para ver los pacientes el tratamiento muy breve y se les da informacin bsica limitada, que necesitan la capacidad para evaluar las necesidades al instante y desarrollar un plan, as como para realizar un seguimiento de los progresos cliente dentro de uno o dos perodos de sesiones. El presentador se ocupa de estas necesidades a travs de una plantilla diseada para su uso en entornos mdicos. DESCRIPTION As music therapy in medical settings continues to grow, so does our need for efficient planning and clear documentation of our effectiveness. The medical community will continue to support music therapy, and we will continue to be satisfied with our work, as we maintain high standards of accountability and provide increased evidence of effectiveness. Music therapy students and young professionals who might otherwise engage in careful planning and excellent documentation often struggle when the task at hand calls for immediate decision-making and thinking on ones feet. When music therapists and music therapy students see clients for brief treatment and are given limited background information, they find themselves in situations requiring instantaneous assessment and treatment planning as well as the ability to track client progress within one or two sessions. Such is often the case with single session music therapy and in settings with high turnover. The presenter, in conjunction with music therapy undergraduates in medical practica, has developed a template for use in gathering brief histories, goal setting, treatment planning, and evaluation of progress. The presenter will share the document with attendees and will discuss feedback gathered from those who have tested it in the field. Time will be allotted for feedback from attendees and for questions.

Como musicoterapia en la configuracin de mdicos sigue creciendo, al igual que nuestra necesidad de eficiencia de la planificacin y documentacin clara de nuestra eficacia. La comunidad mdica seguir prestando apoyo a la musicoterapia, y seguiremos a estar satisfechos con nuestro trabajo, ya que mantener un alto nivel de rendicin de cuentas y proporcionar una mayor evidencia de eficacia. Musicoterapia estudiantes y jvenes profesionales que de otro modo podran participar en una planificacin cuidadosa y excelente documentacin lucha a menudo cuando la tarea en las convocatorias de inmediato la toma de decisiones y "pensar en su pies". Msica cuando los terapeutas y estudiantes de musicoterapia para ver los clientes breve tratamiento y se les da informacin bsica limitada, se encuentran en situaciones que requieran la evaluacin instantnea y la planificacin del tratamiento, as como la capacidad de rastrear el progreso del cliente dentro de uno o dos perodos de sesiones. Tal es a menudo el caso con un solo perodo de sesiones de musicoterapia y en entornos con alto volumen de negocios. El presentador, en conjuncin con la msica terapia mdica de pregrado en practica, ha desarrollado una plantilla para su uso en la recopilacin de historias breves, la fijacin de objetivos, la planificacin del tratamiento, y la evaluacin de los progresos realizados. El presentador ser compartir el documento con los asistentes discutirn y comentarios recogidos de aquellos que han probado sobre el terreno. El tiempo ser asignado para los comentarios de los asistentes y preguntas.

PRESENTER NAME AND AFFILIATIONS Karen Miller, MM, MT-BC, NMT Assistant Professor of Music/Director of Music Therapy Sam Houston State University CONTACT INFORMATION Karen Miller School of Music, Box 2208 Sam Houston State University Huntsville, TX 77341-2208 phone 936-294-1376 fax 936-294-3765 e-mail karenmiller@shsu.edu

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MINI-BIOGRAPHY Karen Miller is Director of Music Therapy at Sam Houston State University. Before joining the faculty at SHSU, she worked as a music therapy director, supervisor, and clinical practitioner, acquiring more than ten years experience in clinical practice. She serves as Past President of AMTA's Southwestern Region and is an AMTA Assembly Delegate.

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Un movimiento transdisciplinar promoviendo calidad de vida


CARRER, LUIZ ROGRIO J. - AMOROSINO, CRISTIANE - COELHO, LILIAN E. - ROSAS, SILVIA
Abstract Este trabajo presenta una investigacin experimental de musicoterapia y vibroacstica aplicada a un sujeto con osteoartritis. Mediciones han sido echas antes y despus de las sesiones para verificar la reduccin del dolor y la promocin de bien estar. Fueron encontrados resultados positivos a travs de mtodos de anlisis cuantitativo y cualitativo despus de diez sesiones. Palabras clave: musicoterapia, terapia vibroacstica, osteoartritis, dolor

Descripcin Este trabajo presenta una investigacin experimental de la aplicacin de musicoterapia y terapia vibroacstica juntas en un sujeto con osteoartritis, una enfermedad degenerativa. El objetivo principal fue la supresin o reduccin de los sntomas de dolor y la promocin de bien estar en el sujeto. El proceso y los resultados descritos han envuelto el uso de ondas sonoras de baja frecuencia de 24Hz, 48Hz y 68Hz juntamente con msica pre-gravada transmitidas directamente al cuerpo del sujeto a travs de un dispositivo vibroacstico conteniendo una silla vibroacstica, una mesa para mezclar msica y vibraciones sonoras, un amplificador y un tocador MP-3/audio-player. El equipo musical vibroacstico ha sido construido por el autor de este trabajo en un laboratorio de audio segn las referencias de Wigram (2007). Las ondas sonoras y la msica fueran escogidas segn los criterios de Skille&Alvin (1968); Skille&Wigram (1995, 2005, 2007). Un total de diez sesiones fueran realizadas durante diez semanas con una duracin de 45 50 minutos para cada sesin. Fueran realizadas mediciones de los seos vitales y sntomas de dolor fueran registrados en una ficha conteniendo una escala visual numrica antes y despus de las sesiones. Un cuestionario cualitativo fue aplicado para evaluar las condiciones fsicas, psicolgicas y emocionales del sujeto antes y despus de las sesiones. El sujeto report relajamiento durante las sesiones. Fueran encontrados estados alterados de conciencia en casi todas las sesiones indicando que las vibraciones y la msica penetran el cuerpo de modo especfico, produciendo cambios de humor y condiciones de salud. Las evaluaciones y resultados indicaran reduccin de los sntomas de dolor apuntando tambin la estabilizacin de las condiciones fsicas. El sujeto report efectos indicando que el tratamiento ha promovido bien estar y tambin ha reducido los sntomas de dolor durante y despus de las sesiones. A transdisciplinary move towards quality of life CARRER, LUIZ ROGRIO J. AMOROSINO, CRISTIANE; COELHO, LILIAN E. ; ROSAS, SILVIA Institution: Faculdade Paulista de Artes, So Paulo, Brazil

Abstract This paper covers an experimental investigation with music therapy and vibroacoustic applied to a subject with osteoarthritis. Measurements were taken before and after the sessions to verify reduction in pain and increase in well being. Positive results were indicated throughout the qualitative and quantitative data after a ten session period. Key words: music therapy, vibroacoustic therapy, osteoarthritis, pain Description This study presents an experimental investigation in the application of music therapy and vibroacoustic therapy together to a subject with osteoarthritis, a degenerative disease. The main objective was the supression or reduction in pain symptoms and promotion of well being in the subject. The process and results described here involved the use of low frequency pure sound waves of 24Hz, 48Hz and 68Hz along with pre-recorded music transmitted directly to the body through a musical and vibroacoustic device containing a vibroacoustic chair, a mixing board to mix music and vibration, an audio amplifier and an mp-3/audio player. The musical and vibrational device was designed by the author of this study in an audio and music laboratory using the references from Wigram (2007). The sound waves and the music repertoire were chosen according to the criteria provided by Skille&Alvin (1968); Skille&Wigram (1982, 2005 and 2007). A total of ten sessions were carried out during ten weeks with duration of 45 50 minutes for each session. Measurements were taken covering vital signs and pain symptoms were recorded in a visual numeric scale before and after the sessions. A qualitative questionnaire was also applied to evaluate psychological, emotional and physical conditions before and after the sessions. The subject reported deep relaxation during the sessions. Altered states of consciousness were found in almost all the sessions indicating that the vibrations and music penetrates the body in specific ways, changing mood and health conditions. The evaluations and results indicated reduction in pain symptoms pointing out also the stabilization of physical conditions. Subject reported effects indicating that the treatment improved well being and reduced pain symptoms during and after the sessions.
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nombre: Luiz Rogrio J. Carrer email: roger_carrer@terra.com.br

Mini Biography of presenters: Cristiane Amorosino Bachelor in Music Therapy (1991), pos-graduate in Music Therapy (1996) at Faculdade Paulista de Artes FPA SP; Master in Development Disturbs at Universidade Presbiteriana Mackenzie (2006) SP; Professor at Universidades Metropolitanas Unidas Uni FMU e Faculdade Paulista de Artes FPA SP; Clinic Music Therapist since 1991 in the areas of Developing Disturbs, Self Conciousness, Psiquiatry, Oncology, Emotional Problems, Trauma and Laboratorial Research. Member of APEMESP Professional and Students Association of Music Therapy SP- Brasil. Luiz Rogrio J. Carrer Professional musician since 1983. Worked as pianist and keyboard player for several renamed brazilian artists in tours around Brasil and USA. Lived in the USA from 1990 to 1993 working as a musician and musical producer. As a composer, released several works in the field of brazilian pop music (MPB), instrumental jazz, experimental and ambient music. Actualy working as an audio producer, engineer and music soundtrack researcher at SinergiaMusic Laboratory of audio and music production SP. Concluding graduation in Music Therapy at Faculdade Paulista de Artes SP Brasil (2007). Now working with community projects in Music Therapy with Oncology, Hiperativism, Autism, Gerontology and Cerebral Palsy. Member of APEMESP Professional and Students Association of Music Therapy SP- Brasil, since 2004.

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Participants accounts of group music therapy and individual GIM in cancer care.
Leslie Bunt - Norma Daykin - Stuart McClean
Abstract: Qualitative analysis of 23 semi-structured interviews following group music therapy at a cancer care centre indicated the importance of identity and creativity in relation to on-going quality of life issues. A participants perceived effects of a series of GIM sessions to support the processes of bereavement will also be presented.

Description: This paper will relate findings from a collaborative study of the accounts of people participating in group music therapy as part of a residential weeks programme at a cancer care centre. The specific perceived contributions of the music therapy to quality of life will be outlined as well as those shared with other complementary therapies. The qualitative analysis of semi-structured interviews with 23 individuals following a one-off group music therapy experience indicated, amongst other aspects, the importance of identity and the role of creativity in processes of individuation and the relationship to health and well-being. The interview data resulting from telephone interviews after the sessions were analysed using constructivist grounded theory using a coding process and a well-established computer software package, Atlas ti. The group music therapist did not take part in any of the analysis. Themes such as choice and personal enrichment contrasted with those of limitation and restriction following cancer diagnosis and treatment. Music therapy contributed to emerging feelings of personal freedom, power and release in contrast to the often-reported feelings of powerlessness. Participants comments related to musical identity, meaning, history and aesthetics. The group process offered opportunities for expression of latent creativity and vital re-connections with an earlier love of music. Some comments were not so positive comments and indicated the need for the therapist to be highly attuned and sensitive to cultural factors, in particular. After reporting from the group music therapy processes an individual participants experiences of 20 GIM sessions will illustrate the contributions not only to working through a process of bereavement after the death of a loved one from cancer but also re-constructive work of a transforming nature in relationship to acute earlier trauma. The presentation will include verbatim comments from both group and individual participants alongside audio and video examples.

Presenter: Professor Leslie Bunt Professor in Music Therapy, University of the West of England, Bristol, UK Fellow Researchers/Collaborators: Professor Norma Daykin Professor of Arts in Health, University of the West of England, Bristol, UK Dr. Stuart McClean Senior Lecturer in Medical Sociology, University of the West of England, Bristol, UK

Contact information: Professor Leslie Bunt St. Matthias Campus (UWE) Oldbury Court Road Fishponds Bristol BS16 2JP Tel: 0044 (0) 117 3284497 Fax: 0044 (0) 117 3284542 Emai; leslie.bunt@uwe.ac.uk Website: www.Lesliebunt.com Author biographies: Leslie Bunt works in cancer care and GIM, also being a Primary Trainer. He leads the MA Music Therapy at UWE and is Founder of MusicSpace. Leslie is widely published. Norma Daykin is a musician, social scientist and Professor in Arts in Health at UWE where she is developing arts-based methodologies in qualitative research and collaborative research with music therapis111 ts. Stuart McCleans research interests include the re-emergence of complementary and alternative healing practices in western medicine and

the role of the creative therapies and arts in health promotion.

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Music therapy in the forensic field.


Maria Pruisken
This film presents how music therapy works in the forensic field, in the Van Mesdagkliniek in Groningen, the Netherlands. How is the treatment with music therapy in a forensic psychiatric hospital? What goals do we have for different psychiatric diseases and syndromes? Which methods and instruments do we use in music therapy? What are the possibilities and limits for patients under forced admission?

Maria Pruisken works for nearly 16 years in this clinic as a music therapist and shows pictures of the practise, how she works with this patients staying in custody in a very secured clinic. TBS patients did very severe crimes and the team in this clinic needs to be very careful in their attitude, otherwise situations could become dangerous. It also needs a specific professional attitude working as a feminine music therapist with men. There are different treatments around a prisoner in the Van Mesdagkliniek. Music therapy is just one part of the multi disciplinary team. Music therapy always needs an indication from the psychiatrist of a compartment. Frequently the music therapists have to bring out rapport about the patients and tell about the process in therapy, the main problems and the reached goals. This film shows her way to work with these men as a music therapist, who uses herself as an instrument too. For the different goals in the process of a client she uses different kind of music instruments, as it is shown in the film: Why are drums so important for the treatment of foreigners, especially in the work with psychotic people? Why do psychotic clients love to improvise on harps and other string instruments? Why is improvisation in the music therapy so important? Why improvisation sometimes can be risky? The films shows her at work with a psychotic man, a group with psychotic clients and an autistic man, using the voice. In the film are interviews with some other social workers and therapists in the clinic. The film gives an impression of the music therapy in a forensic psychiatric hospital. It is mainly created by amateurs, some parts by professionals. The estimated length is 45 minutes. Afterwards people can ask questions about the subject. The whole session takes one hour.

Maria Pruisken, Music therapist in the Van Mesdagkliniek, Groningen, The Netherlands. mariapruisken@hetnet.nl Maria Pruisken comes from Germany and lives in The Netherlands since 1986. school for music therapy in Amersfoort, The Netherlands (1986-1990) school for gestalt therapy (Pearls) (2001-2004) music therapist in a forensic hospital in The Netherlands (since 1991) own practise (since 2004 ) course of singing bell massage and using gongs (2001, Peter Hess Institute in Germany) coordinator of a KueblerRoss meeting group (1995 -2005).

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mourning and music


Maria Pruisken
music therapy with people who lost a beloved person The water is wide - and you can get over. The water is wide, I cannot get over is the beginning of an English song. It presents the situation of a person who lost a beloved one. People who have died are not reachable anymore for the living. They are far away, you dont know where. Sometimes you can still feel their presence, but there is no body to hold in your arms. One has to live with what they left behind: memories inside and outside, dreams which did not come out. It is a hard work to deal with the death of a beloved person. One is confrontated with feelings and emotions, such as sadness, anger, feeling guilty, fear. It is a heavy process for someone to deal with this feelings and to gain a new stability in life. In this process music therapy can give support to mourning people. It helps people to give expression to their feelings, not by talking, but by using their voice and music instruments. It gives support in accepting first of all that they have these feelings, that it is OK to have them and even necessary in order to find peace and acceptance of the situation, for a shorter or longer time. In this workshop I present the possibilities of music therapy with mourning people, who live with these paradox: you have to let go the beloved one and you wish to stay connected with him. Music therapy can play an important role in the process of mourning. It can give comfort by playing together on harps and soft instruments, singing tunes and heartsongs, which touches deep levels of being. Grounding is also a very important aspect of working with mourning clients. With the slow beat of a drum a music therapist can help the client to put his feet on earth again. In the sessions I work with The voice: improvising with tunes, singing songs of different cultures. Instruments: different drums for grounding, string instruments for comfort. Techniques of Gestalt Therapy to cope with the feelings. Singing bells massage and other therapeutic instruments to relax. Stories of comfort. Visualisation of a positive future. In the workshop I will mainly work with the voice and I will tell about the importance of rituals. Maria Pruisken. Maria Pruisken comes from Germany and lives in The Netherlands since 1986. school for music therapy in Amersfoort, The Netherlands (1986-1990) school for gestalt therapy (Pearls) (2001-2004) music therapist in a forensic hospital in The Netherlands (since 1991) own practise (since 2004 ) course of singing bell massage and using gongs (2001, Peter Hess Institute in Germany) coordinator of a KueblerRoss meeting group (1995 -2005).

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Feminist Ways of Working in Music Therapy


Dorit Amir - Joke Bradt - Sandra Curtis - Cheryl Dileo - Michele Forinash - Frances Smith Goldberg - Carolyn Kenny ChihChen Sophia Lee - Katrina McFerran - Elaine Streeter - Barbara Wheeler - Elizabeth York
Abstract: This roundtable explores the relationship between music therapy and feminist ways of working, whether it be theoretical, clinical, research, educational, or supervisory. Panelists are contributors to the recent Feminist Perspectives in Music Therapy, (Susan Hadley, Ed., Barcelona Press, 2006) and each woman brings her own unique feminist voice. Description: In 2004, Susan Hadley and Jane Edwards began a feminist discourse in music therapy in the online journal Voices. They apologized for the lack of development of a feminist dimension within the profession. They wondered 1) why music therapists were late in embracing a feminist standpoint; 2) why so few had published on the topic; and 3) if feminist music therapists were unique in the ways we work with clients, conduct research, teach, and make ethical decisions. They noted an omission of feminism in the theory building of our predominantly female profession, especially when compared to feminist discourse in other disciplines including psychology, theology, the social and natural sciences, and aesthetics. A chorus of feminist voices has now been raised in Feminist Perspectives in Music Therapy. (Hadley, Ed., Barcelona Press, 2006). In this seminal text, Hadley asks authors who identified with a feminist stance to share their personal, clinical and professional stories. These stories reveal a collaborative difference in perceiving themselves as feminist, congruent with the definitions of Hekman (1997) who identified a feminist [research] standpoint as women speaking their truth (Cited in Ramazanoglu, 2002, p. 64). Each author reveals a unique resonance with the term feminist. Since the publication of the book, the authors, international in scope, have continued this conversation. More questions have been generated about what constitutes a feminist stance in music therapy. Our voices range from: an ecological, Native American music therapy incorporating a natural connection to the body and sensesto the enrichment of feminist perspectives in supervision and pedagogyto feminist reflections of clinical work and action research with women and men who have been oppressed by war, societal norms, and traditional gender rolesto acknowledgement of the divine feminine. We present our ideas in the round, inviting an egalitarian, relational format where participants may share their own feminist views. Contact Information: Elizabeth York, PhD, MT-BC Director, Music Therapy Program Petrie School of Music Converse College 580 East Main Street Spartanburg, South Carolina, USA 29302 864- 596-9166 (o) 864-596-9167 (f) Elizabeth.york@converse.edu Mini Biographies of Presenters: Dorit Amir, Ph.D., coordinates the Music Therapy Program at Bar Ilan University, Israel. She has worked with a variety of clients, published many articles and chapters, published two books in Hebrew, and serves as the European editor of Voices. Joke Bradt, Ph.D., MT-BC, LCAT, is the Assistant Director of the Arts and Quality of Life Research Center (Temple University). Her research interests include arts for quality of life enhancement, ethical issues in research, and improvisational pain management methods. Sandra Curtis, Ph.D., MT-BC, MTA, School of Music, University of Windsor, has 20 years experience in clinical practice, teaching, research, and social justice work for women survivors of violence. Cheryl Dileo, PhD, MT-BC is Professor of Music Therapy and Director of the Arts and Quality of Life Research Center at Temple University. She is a Past-President of the World Federation of Music Therapy and National Association for Music Therapy. Michele Forinash, DA, MT-BC, associate professor at Lesley University and past president of AMTA, has published on phenomenological research, arts based research, supervision, and qualitative research in music therapy. Frances Smith Goldberg, MA, MT-BC, FAMI, is Director of the Therapeutic Arts Institute, an international postgraduate training institute in BMGIM, is a licensed psychotherapist and retired from a 47-year clinical practice in 2005. Carolyn Kenny, Ph.D., MT-BC, MTA, is Professor of Human Development and Indigenous Studies at Antioch University, Co-editor in Chief of Voices: A World Forum for Music Therapy, and an active grandmother.

1 apy ChihChen Sophia Lee, Ph.D., MT-BC, is the Director of Music Ther15 at the Southwestern Oklahoma State University. Clinically, she has worked in long-term care, hospice care, early intervention, and with rural at-risk youth.

Katrina McFerran, Ph.D. RMT is a Lecturer at the University of Melbourne. Through her research and clinical work with adolescents, she empowers young women and men through musical experiences. Elaine Streeter, MA, Senior Research Fellow in Music Therapy, University of York, trained with Paul Nordoff and Clive Robbins in 1974. She developed the Roehampton Institute of Higher Education music therapy program. Barbara Wheeler, Ph.D, MT-BC, is professor and Director of Music Therapy at the University of Louisville and President Elect of AMTA. She has broad clinical, research, and writing interests. Elizabeth York Ph.D, MT-BC, is Director of Music Therapy at Converse College, a womens college in South Carolina. She is a feminist musician, clinician, educator, and researcher.

Las maneras feministas de trabajar en la terapia de msica

Sumario: Esta mesa redonda explora la relacin, ya sea teortica, clnica, investigativa, educacional, o supervisaria, entre la terapia de msica y las maneras feministas de trabajar. Las coloquiantes son contribuidoras al libro reciente, Perspectivas feministas en la terapia de msica, (Sue Hadley, Ed., Prensa Barcelona, 2006) y cada mujer contribuye su propia voz feminista nica. Descripcin: En 2004, Susan Hadley y Jane Edwards comenzaron un discurso feminista en la terapia de msica en la revista electrnica Voces. Pidieron perdn por la falta de desarrollo de la dimensin feminista dentro de la profesin. Se preguntaron 1) por qu las terapistas de msica eran tardes en abarcar una perspectiva feminista; 2) por qu tan pocas haban publicado sobre este tpico; y 3) si terapistas de msica feministas eran nicas en las maneras en que trabajamos con clientes, conducimos investigaciones, enseamos, y hacemos decisiones ticas. Notaron una omisin del feminismo en la construccin de teoras de nuestra profesin, especialmente comparada al discurso feminista de otras disciplinas incluyendo la psicologa, la teologa, las ciencias sociales y naturales, y la esttica. Un coro de voces feministas ya ha levantado en Perspectivas feministas en la terapia de msica (Hadley, Ed. Prensa Barcelona, 2006). En este texto seminal, Hadley les pidi a las autoras que se identificaban con la postura feminista compartir sus historias personales, clnicas, y profesionales. Estas historias revelan una diferencia colaborativa en percibirse como feministas, de acuerdo con las definiciones de Hekman (1997) que identific una postura [investigativa] feminista como mujeres diciendo su verdad (Citado en Ramazanoglu, 2002, p. 64). Cada autora revela una resonancia nica con el trmino feminista. Desde la publicacin del libro, las autoras, de extensin internacional, han continuado esta conversacin. Ms preguntas han sido engendradas sobre qu constituye una postura feminista en la terapia de msica. Nuestras voces varan desde: una terapia de msica ecolgica, americana indgena que incorpora una conexin natural al cuerpo y a los sentidoshasta el enriquecimiento de perspectivas feministas en la supervisin y la pedagogahasta las reflexiones feministas de obra clnica e investigacin de accin con mujeres y hombres que han sido oprimidos por la guerra, las normas sociales, y los papeles de gnero tradicionaleshasta el reconocimiento de la feminina divina. Presentamos nuestras ideas a la redonda, invitando un formato egalitario y relacional donde los participantes puedan compartir sus propios puntos de vista feministas. Cmo contactar: Elizabeth York, Ph.D., MT-BC Directora, Programa de Terapia de Msica Escuela de Msica Petrie (Petrie School of Music) Converse College 580 calle Main este (East Main Street) Spartanburg, Carolina del Sur, Estados Unidos 29302 (South Carolina, USA) 864-596-9166 (oficina) 864-596-9167 (fax) Elizabeth.York@converse.edu participantes: Dorit Amir, Joke Bradt, Sandra Curtis, Cheryl Dileo, Michele Forinash, Frances Smith Goldberg,
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ArtStories: Indigenous language revitalisation and cultural maintenance in a remote Australian community
Anja Tait
ABSTRACT ArtStories is a suite of arts-based research initiatives in the health, education and community sectors, in Northern Australia. This paper describes the impact of shared artmaking for learning and wellbeing for adults and young children in a remote Indigenous Australian community.

DESCRIPTION (300-word maximum) The composition of original songs for children is one component of an effective intervention for first language development and the oral transmission of culture across generations in Northern Australia. The transmission and maintenance of Indigenous culture through first language is a potent indicator for individual and community wellbeing in Indigenous communities throughout Australia. In one very remote community, Indigenous Australians are participating in collaborative songwriting, recording and production, across gender and generations. ArtStories brings together senior women, linguists and teachers, with community musicians and song-makers. Together they identify target language and cultural knowledge that has skipped generations of young Indigenous Australians. These young people are faced with the double jeopardy of native birthright without equity of access to quality health and education services available in mainstream Australian society, nor the maintenance of Indigenous languages that can provide a key to cultural knowledge, that may provide strength and resilience. The impact of distributing the song material throughout the community has impacts far beyond the observable engagement of young children in their school-based learning. ArtStories brings together generations of people in this Northern Australian remote Indigenous community for maintenance of language, culture, health and wellbeing.

Anja Tait Senior Research Fellow, School of Education Charles Darwin University, Australia. anja.tait@cdu.edu.au +61 8 8946 7916

1. TTULO DE LA PRESENTACIN ArtStories: Revitalizacin y mantenimiento cultural de una lengua aborigen en una comunidad remota de Australia 2. RESUMEN ArtStories es una suite de iniciativas de investigacin basadas en el arte y aplicadas a los sectores de la salud, de la educacin y de la comunidad en el norte de Australia. Este artculo describe el impacto que la realizacin artstica compartida ha producido en la enseanza y en el bienestar de adultos y nios pequeos de una comunidad indgena remota de Australia.

DESCRIPCION La composicin de canciones originales para nios es uno de los componentes que contribuyen en la intervencin eficaz para el desarrollo de la lengua materna y para la transmisin oral de la cultura entre generaciones en el norte de Australia. La transmisin y mantenimiento de la cultura indgena mediante la lengua materna es un indicador potencial del bienestar individual y comunal de las comunidades indgenas en toda Australia. En una comunidad muy remota, los aborgenes australianos, de diferentes gneros y generaciones, participan en la composicin conjunta de canciones y en su grabacin y produccin. ArtStories rene a mujeres mayores, lingistas y profesores con msicos y compositores de la comunidad, para identificar las lenguas objetivo y el conocimiento cultural que no ha sido adquirido por algunas generaciones de jvenes indgenas australianos. Estos jvenes enfrentan la doble contradiccin de contar con derechos nativos de nacimiento pero no poder experimentar equidad en el acceso a una salud de calidad ni a los servicios educacionales disponibles para la sociedad australiana dominante. Tampoco han visto el mantenimiento de las lenguas aborgenes que les proporcionaran la entrada a un conocimiento cultural que los equiparara con fortaleza y resistencia. La distribucin de material de canciones en la comunidad tiene un impacto ms all de la participacin observable de nios pequeos en su aprendizaje escolar. ArtStories rene a generaciones de personas en esta comunidad indgena remota del norte de Australia que trabajan por el mantenimiento de la lengua, la cultura, la salud y el bienestar general. AUTHOR DETAILS Anja Tait es terapeuta musical, educadora e investigadora. En ju117 de 2005 fue ponente de apertura en el 11avo Congreso Mundial de lio Terapia Musical. Anja es la jefa de proyecto de ArtStories, que es un enfoque con base artstica para la participacin comunitaria y el automanejo http://artstories.cdu.edu.au.

Anja Tait Senior Research Fellow, School of Education Charles Darwin University, Australia. anja.tait@cdu.edu.au +61 8 8946 7916

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LA ROCCIA MUSIC THERAPY TOWARDS ART-THERAPY IN A MENTAL HEALTH OPEN INSTITUTION.


FACCHINI, DIANA - DE MICHELE, RENATO
ABSTRACT: Evolution of a MT project in psychiatric rehabilitation in Naples (Italy). Description of an experience with mental health using integrated different art techniques. DESCRIPTION: 300 words maximum; providing sufficient information concerning the proposal for the reviewers to evaluate its suitability for this conference. We describe the evolution of a music therapy intervention in psychiatric rehabilitation at "La Roccia" center (Naples, UOSM 52 ASL Na 1), interacting with the other laboratories: Fiabe (tales) group, and "Body Image". The intervention, moving from the actual orientations of Italian psychiatric and psycho-social rehabilitation more in general, has going on toward a phase of "opening to the territory" from a side, and toward a qualitative amelioration of self-image, and of their own "products", from the other. The subject with psychic uneasiness can become a propositive person, being able, that is, to reverse the state of his own "exposition" to the cultural experience, moving from a "marginalization" by the territory, to become a "resource" for the territory. In this exposition-proposition there are strong therapeutical, re-habilitative signifiants, such as: satisfaction of "being able to..."; empowering of self-image; overcoming of the "fear of the public"; preparation; delay; rituality; attention; memory; tangible emotions; alliances between friends; help and mutual support; each other suggestions; help; group solidariety; tolerance; proposition of matters, phrases, melodies, rhythms; study of the times; and... so much other. PRESENTER NAME(S) AND AFFILIATION(S): - FACCHINI, DIANA, President and Founder of ISFOM (MT Training Institute), Teacher of Music in Italian state schools. - DE MICHELE, RENATO: AIReM (Ital. MT Register Ass.), President and Founder, UOSM 50 DSM (Mental Health Dept.) ASL Na 1. CONTACT INFORMATION: (name, address, telephone, fax and email of one contact person). FACCHINI, DIANA: c/o ISFOM, via R. Morghen, 36 80129 Naples ITALY Tel. (+39) 081 5789330 Fax: (+39) 081 5784059 E-mail: gianldif@tin.it . MINI BIOGRAPHY OF PRESENTERS: (30 words maximum per person). - FACCHINI, DIANA: MT Supervisor; ISFOM Founder, President, Institute advisor; Music teacher in Italian state schools; AIReM Founder and Base Training Committee Cohordinator. - DE MICHELE, RENATO: MT Supervisor; AIReM President and Founder; ISFOM Institute advisor; Psychiatric Rehabilitation Cohordinator in UOSM 50 DSM (Mental Health Dept.) ASL Na 1.

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Recursos, Intervenciones y Teora en Musicoterapia con pacientes con Trastornos Espectro Autista.
Fernando Javier Urrea Cesarano
Tipo de Presentacin: Trabajo 45 minutos. Resumen: Las intervenciones y recursos musicoterapeuticos son eficaces dentro del mbito clnico con pacientes con TEA. Estos diferentes elementos sonoro-musicales, empleados por un musicoterapeuta posibilitan la interaccin social dentro y fuera del espacio grupal, permitiendo mayor fluidez en la expresin y comunicacin, y una marcada disminucin de comportamientos inapropiados. Descripcin: El musicoterapeuta intenta ensanchar, acrecentar, desarrollar, etc. el espectro subjetivo del otro-paciente, para que ste pueda interactuar con otros y formar parte del espacio social. Las herramientas y el lenguaje en el que se desarrolla el quehacer de la musicoterapia son: la msica, y los recursos y producciones sonoro-musicales del paciente. Lo que nos ana y congrega bajo esta especificidad teraputica, es la capacidad expresiva y comunicativa, poder gestar resiliencia, asertividad, empata entre otras funciones teraputicas, con la produccin del paciente. Cuando hablamos del producto sonoro-musical, hablamos de un producto subjetivante, de una particularidad, en donde se pone en juego la capacidad/es que hacen a la singularidad/es de ese o esos sujetos con los cuales buscaremos armar una trama significante, donde poder desarrollar o construir procesos creativos nicos. Cada expresin musical, sonora, gestual, cada manifestacin, es una nota, un camino donde encontrarnos con su forma de ser y estar en el mundo. Entiendo, que el abordaje comenzara desde all. Cuando estamos frente a una persona con TEA escuchamos una subjetividad en proceso de constituirse, un psiquismo en continuo devenir que no ha logro establecerse. Alguien transitando por la superficie de las cosas, manifestando en forma implcita dificultad para apropiarse o constituir en propio lo vivido. La msica puede constituirse, mediante las intervenciones pertinentes, en un medio propiciante de la subjetividad, ya que el musicoterapeuta buscar emplear en forma asertiva los recursos sonoros y musicales, que considere ms apropiado para ese sujeto, construyendo una trama-umbral vehiculizadora del afecto, la emocin y la expresividad. Por lo tanto, la msica es portadora y transmisora de subjetividad, cuando es empleada dentro del espacio musicoteraputico y administrada por un musicoterapeuta que ejerza su profesin en forma tica y con la finalidad de desarrollar un proceso teraputico. Esto, fundamenta las intervenciones del musicoterapeuta frente al autismo. Nombre y datos del autor: Fernando Javier Urrea Cesarano. Musicoterapeuta-USALEgresado ao 94. Actualmente finalizando estudios de Licenciatura. Contacto: Fernando Urrea, Laprida 2335, Dto. 2 - Florida - Vicente Lpez - Tel. 4718-0154 o 1549403336 Mail: eltambor03@yahoo. com.ar.

Mini bibliografa del Presentador: El Mt. Fernando Urrea se desempea desde hace quince aos con pacientes con Autismo y psicosis infantil, dificultades del aprendizaje y personas privadas de su libertad con problemas psiquitricos.

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Msica y Educacin Especial


PEDRO BOLTRINO
Resumen: El sentido artistico es una manera de aprehender el contexto y actuar sobre l llevando a cabo una actividad dotada de sentido. Es la musica la disciplina elegida para acompaar desde las distintas modalidades de la escuela especial la construccion de una estructura que permita al nio re-aprender ese sentido, esa dinamica, ese ritmo Descripcin: ...La intervencin pedaggica se da de manera distinta que la intervencin psicoteraputica, si bien Un terapeuta es siempre un reeducador as como toda educacin especial es teraputica . ... Desde los diferentes espacios abiertos por lo artstico en la educacin, la msica se manifiesta como construccin sonora, como un modo de organizacin de lo acstico que liga al hombre en su temporalidad constitutiva, en el desarrollo de su percepcin y en el descubrimiento de una actitud creativa en su constante intercambio con la realidad. La msica puede contribuir a romper barreras entre alumnos y liberar el potencial que llevan consigo. No obstante con respecto a alumnos con necesidades especiales a) es posible que los alumnos necesiten un acercamiento positivo a unas experiencias y actividades que puedan realizar con xito. b) Es posible que sea necesario adaptar las tareas que se les encarguen para que puedan responder de forma positiva. Para garantizar la igualdad de oportunidades para todos los alumnos, pueden ser necesarios recursos adicionales. Por eso el presente trabajo da cuenta del recurso musical en cada especialidad, Trastornos cognitivos, sensoriales, motrices, emocionales.PEDRO BOLTRINO Datos: Lic. en Artes( UNSAM) , Prof. de msica, 25 aos de antigedad en escuelas especiales autor de artculos y libros sobre la temtica.Consultor sobre necesidades educativas especiales de la Dir de Educacin Artstica de la Pvcia de Buenos Aires. Docente Terciario y Universitario. Prof. invitado en la Univ. de Guanajuato Mx, Expositor en el Congreso Pedaggico Cuba 2007, en el CLAM III , Santiago de Chile, Julio de 2007 y en distinto Congresos y Jornadas Nacionales e Internacionales.e-mail : pedro@pedroboltrino.com.ar web: www.especialmentemusica.com.ar

MUSIC AND SPECIAL EDUCATION ABSTRACT The artistic sense is a way of apprehending the social context and also a way of acting upon it by producing activities full of sense. Music is the branch of art chosen to attend to children, considering the different areas subjects at school, to grow up and learn again this sense, this dynamic, this rythm. Description

Pedagogical intervention is different from psychological intervention. Even though, a therapist is always a re-educator and special education is always therapeutic. Among the different forms that art in education offers, music appears as a sound building, like a way to acoustic organization, and it connecting us during our perception developing and discovering a creative attitude, interacting constantly with reality. Music helps to open the way between students and help them to show us their possibilities . In any way, respect to special students: A) There is a possibility: that students need an approach to experience and possible and succesfull activities. B) Well need to adaptate the tasks, so that pupils are able to work them out successfully. Additional resources are neccesary to guarantee the same opportu121 for everybody.. nities Therefore, this work considers the musical resources applicated in cognitive, sensorial, moving and emotional disorders.

e-mail : pedro@pedroboltrino.com.ar web: www.especialmentemusica.com.ar

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INTERVENCIN VOCAL GRUPAL - Aplicacin Clnica en Ceguera Adquirida


Mara Cecilia Zamora - Mara Virginia Gmez - Raquel Gmez
ABSTRACTO El sujeto con ceguera adquirida en la adultez presenta signos de aislamiento que, en el espacio musicoteraputico, se manifiestan a travs de indicadores de alteracin en el desenvolvimiento corporal, vocal y social. La Intervencin Vocal Grupal, aplicada sistemticamente, promueve un re-posicionamiento del sujeto al tiempo que favorece su resocializacin. DESCRIPCIN En los sujetos con ceguera adquirida en la adultez, la disminucin y alteracin de la percepcin no solo se relaciona con la prdida real del sentido de la vista sino tambin con los estados anmicos por los cuales atraviesan nuestros pacientes: shock, depresin y proceso de duelo. En ese trnsito hacia la aceptacin de una nueva realidad encontramos un denominador comn: el aislamiento. Implementamos la Intervencin Vocal Grupal para favorecer la integracin neurosensorial, re-organizando el sistema perceptual a partir de la exploracin, registro y reconocimiento del esquema corporal vocal promoviendo estados de mayor seguridad en la relacin del sujeto consigo mismo, con el espacio y con los dems. A su vez, y partiendo del estado regresivo dado en la conjuncin entre un espacio musicoteraputico - transicional y la transferencia, re-actualizar el recorrido de la construccin de la Voz - Palabra y reelaborar los vnculos por los cuales atraviesa el Yo para constituirse como tal, son nuestras estrategias fundamentales para erradicar las conductas de aislamiento de nuestros pacientes. Tomamos a la voz como constructo particular y singular, aquel que imprime un sello de identidad -nico y original- en cada persona, y a la Interaccin Vocal Grupal como estrategia de mediacin entre el sujeto y los otros, capaz de poner en marcha mecanismos que lleven a la autoafirmacin del sujeto y a su inclusin grupal a partir de la creacin de nuevos vnculos. AUTORAS: Mara Cecilia Zamora. Mara Virginia Gmez Raquel Gmez CONTACTO: Raquel Gmez Baha Blanca 3260. C.P (1417).Capital Federal. Buenos Aires, Argentina Telfono / Fax: 4503-6126 Celular: 15 6 7049176 e-mail: info@redmusicante.com www.redmusicante.com BIOGRAFA DE LAS AUTORAS: MARA CECILIA ZAMORA Licenciada en Musicoterapia, USal Argentina. Especializacin e investigacin en Psiquiatria y Ceguera Musicoterapeuta en Geriatra y en Prevencin de Adicciones Docente de Msica en Educacin Primaria Bsica Docente Universitaria MARIA VIRGINIA GMEZ Licenciada en Musicoterapia , USal - Argentina Musicoterapeuta en Educacion Especial : Riesgo Social y Debilidad Mental Especializacin e investigacin en Psiquiatria y Ceguera. Docente Terciaria Docente Universitaria RAQUEL GMEZ Licenciada en Musicoterapia, USal Argentina. Especializacin e investigacin en Psiquiatria y Ceguera Musicoterapeuta en Educacin especial: Ciegos - Disminuidos Visuales Musicoterapeuta en Sndrome de Tourette, Trastorno de Asperger 123 Docente Universitaria GROUP VOCAL INTERVENTION

Clinical application to acquired blindness Abstract A individual who acquires blindness at adult age shows isolation symptoms, these symptoms in an musictherapy environment appears as commotion pointers in their corporal, vocal and social development. If Group Vocal Intervention is applied in a systematic way , promotes a repositioning of the individual improving his insertion in the social environment.

Description In individuals with acquired blindness at adult age, the leak and alteration of perception is not only relative to the loss of sense of sight, but with the mood, different stages who the individual goes through: shock, mourn and depressive behaviours. Along this journey to the acceptance of the new reality, we find a common subject : isolation. We use the Group Vocal Intervention to enhance the neurosense make up re-building the perceptive system since the scouting, register and recognizing from the vocal-corporal scheme promoting an status quo of higher security and confidence, from the individual in self, with the environment and with others. At the same time and from a regressive situation given in the union between a musictherapeutic transitional space and a psychological transference -Renew the build of voice-word trip. -Re-build entails of the SELF to be constituted such like it. This are our main strategies to fight against the behavior of isolation of our patients. VOICE, is that we use as a particular and unique builder, it is what gave a identity seal original and unique- in each individual, and Group Vocal Intervention as an strategy of arbitrating between the individual and the others, able to start a machinery what leads to the selfdetermination of individuals and the acceptance in the crowd since the creation of new entail.

AUTHOR. Mara Cecilia Zamora Mara Virginia Gmez Raquel Gmez PERSONAL DATA Raquel Gmez Baha Blanca 3260. P.O. (1417).Capital Federal. Buenos Aires, Argentina Phone / Fax: 54-11-4503-6126 Cell: 54-11-156-7049176 e-mail: info@redmusicante.com www.redmusicante.com

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La inclusin de las TIC en el tratamiento musicoteraputico


Sergio Adrin Orellana
Resumen: El presente trabajo es una interiorizacin y reflexin acerca del uso de las Tecnologas de la Informacin y la Comunicacin (TIC) durante el tratamiento musicoteraputico. Su incorporacin facilita la manipulacin y experimentacin de eventos acsticos pudiendo ampliar las posibilidades de expresin sonora de los individuos.

Contenido: La Musicoterapia, como otras ramas de la ciencia, utiliza las TIC (Tecnologas de la Informacin y la Comunicacin) tanto para acceder al conocimiento de las nuevas tecnologas como a su actualizacin. El presente trabajo es una interiorizacin y reflexin acerca del uso de las TIC durante el tratamiento musicoteraputico. Se toma como referencia el caso clnico de un individuo de 28 aos con retraso madurativo como diagnstico. Se describe su tratamiento basado en las experiencias musicales de escucha, re-creacin, composicin e improvisacin utilizando la computadora. El abordaje comprende: el paradigma del desarrollo: considerar las potencialidades del individuo para arbitrar estrategias que las satisfagan las tecnologas de apoyo: las que sirven para que los usuarios superen las barreras de acceso el concepto del diseo universal: herramientas creadas desde un punto de vista ecolgico teniendo en cuenta las necesidades e intereses de los posibles usuarios los criterios de adaptabilidad tecnolgicos: evaluacin, preservacin de las capacidades cognitivas, sensoriales y motrices, reevaluacin programas de sonido: uso de programas para computadora de licencia GNU (libre y/o gratuita). Haciendo nfasis en la experiencia musical de la improvisacin, se describen varias formas de realizarla utilizando programas de computadora cuyo empleo puede ser mediante notas musicales en un pentagrama, loops, instrumentos virtuales o de manera grfica. El trabajo concluye con una reflexin sobre las posibles razones por las cules se obstaculiza la inclusin de las TIC en musicoterapia, las posibilidades existentes para superar esas barreras, una descripcin sobre experiencias actuales y sobre cmo las herramientas tecnolgicas digitales favorecen la recopilacin, almacenamiento e intercambio de datos sonoros dentro de la sesin en tiempo real.

Autor: Sergio Adrin Orellana Formacin: Musicoterapeuta Biografa: Docente en la Carrera de Musicoterapia (U.B.A.). Docente en mbito privado en reas relacionadas con las tecnologas de ayuda. Trabajos de investigacin en el Centro de Asistencia y Rehabilitacin Especial Contacto: o Direccin: Dr. A. Dickman 1374 P.B.2 Ciudad de Buenos Aires o C.P.: EHJ 1416 o Tel: (011) 4584-5964 (15) 6044-7113 o Correo electrnico: oresergio@yahoo.com.ar; sergioaorellana@hotmail.com

Title: The inclusion of the ICT in the music-therapy treatment

Summary: The present work is an internalization and reflection about the use of the Information and Communication Technologies (ICT) during the music-therapy treatment. Its incorporation facilitates the manipulation and experimentation of acoustic events being able to extend the possibilities of sonorous expression of the individuals.

Content: The Music- therapy, like other branches of science, uses the ICT as much to accede to the knowledge of the new technologies like a its update. The present work is an internalization and reflection about the use of the TIC during the music-therapy treatment. It is taken as reference the clinical case from 28 years old with a late maturity as diagnosis. One describes to its treatment based on the musical experiences of listening, recreation, composition and improvisation using the computer.
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The paper includes: The paradigm of development: to consider the potentialities of the individual to arbitrate strategies that satisfy them

The support technologies: those that serve so that the users surpass the access barriers The concept of the universal design: tools created from an ecological point of view considering the necessities and interests of the possible users The technological criteria for adaptability: evaluation, preservation of the cognitive, sensorial and motor capacities, re-evaluation Sound programs: use of programs for computer of license GNU (free). Making emphasis in the musical experience of the improvisation, several forms are described to make using it computer programs whose use can be by means of musical notes in pentagram, loops, virtual instruments or in a graphical way. The paper concludes with a reflection on the possible reasons for which the inclusion of the ICTs in music-therapy is prevented, the existing possibilities to surpass those barriers, a description on present experiences and how the digital technological tools helps the compilation, storage and interchange of sonorous data within the session in real time.

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Musicoterapia y distrs
Laura Cecilia Martnez Didolich
Resumen: Musicoterapia en el tratamiento de personas que padecen enfermedades causadas y/o agravadas por distrs, con una fundamentacin desde la Psiconeuroinmunoendocrinologa. Descripcin: El trabajo se centra en las posibilidades y aportes de la Musicoterapia en el tratamiento de personas que padecen enfermedades causadas y/o agravadas por distrs. Respetando la identidad de cada disciplina, se toman como referencia los aportes tericos de la Psiconeuroinmunoendocrinologa para la comprensin del distrs y el rol que juega en el proceso de la enfermedad. El objetivo principal es identificar y fundamentar la funcin de las intervenciones musicoteraputicas proponiendo un abordaje con aplicacin clnica en las distintas reas de incumbencia profesional. Nombres y datos del autor: Laura Cecilia Martnez Didolich Fecha de nacimiento: 19 de octubre de 1983 Telfono: 4682-6818 Celular: 15-5774-2452 Direccin: Basualdo 1827 (1440) Capital Federal Correo electrnico: lcmd83@hotmail.com Mini biografa del presentador: Laura Cecilia Martnez Didolich, Musicoterapeuta (UBA), estudiante de medicina (UBA), docente de la Carrera de Musicoterapia (Facultad de Psicologa UBA), realiz sus estudios musicales en el Conservatorio Manuel de Falla. Miembro del Equipo de Musicoterapia del Hospital Interdisciplinario Psicoasistencial Dr. Jos T. Borda.

Music therapy and distress Abstract: Music therapist treatment of people who suffer diseases caused and/or worsened by distress, fundamented by Psico Neuro Inmune Endocrinology. Description: This work is centered in Music therapists possibilities and contributions in treatment of people who suffer diseases caused and/or worsened by distress. Respecting each disciplines identity, aportes are took by Psyco Neuro Inmune Endocrinology for the understanding of distress and the role that it plays in disease process. The aim of this work is to identify and justify Music therapists functions proposing an aproach with clinical application in different areas of the professional incumbence.

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BSQUENME, ME ENCONTRARN!
CARLOS E. CARUSO
RESUMEN: El trabajo describe un caso de dificultoso diagnstico y tratamiento y cmo se utiliz la msica en los cuidados psicoteraputicos terminales de un paciente de esquizofrenia paranoide que desarroll un tumor cerebral. DESCRIPCIN: El paciente fue tratado con psicofrmacos y diversas psicoterapias desde los 20 aos, por esquizofrenia paranoide. A los 48 aos desarroll un tumor cerebral. Luego de la primera intervencin quirrgica me fue derivado para su seguimiento psicoteraputico por el psiquiatra que lo trataba y que conoca la afinidad del paciente por la msica. Acompa al paciente, de manera discontinua, durante los casi dos aos y medio de evolucin de su enfermedad, hasta su muerte. Fue intervenido quirrgicamente dos veces ms. Siendo el paciente una persona de pocas palabras, la msica y las canciones mediaron para evitar su soledad, permitir que yo pudiera acompaarlo en el difcil tramo final de su vida y l pudiera comunicar sus estados de nimo y sus pensamientos sobre su vida y su futura muerte. NOMBRE Y DATOS: Mdico psiquiatra, msico y compositor. CARLOS E. CARUSO CONTACTO: CARLOS E. CARUSO MEDRANO 1394 (CP 1179) Ciud. Aut. de Bs. As. TE: 4862-9832 E-mail: carlos@tangosbycaruso.com MINIBIOGRAFA: Ex- docente en las Carreras de Medicina y Musicoterapia de la Universidad de Buenos Aires. Presidente de la Asociacin Argentina de Arteterapia. Coordinador del Centro de Terapia por el Arte. ----/----

LOOK FOR ME, I CAN BE FOUND! SUMMARY: The paper describes a difficult diagnosis and treatment case, and how the music was used in the psychotherapeutically terminal cares of a patient who suffered paranoid schizophrenia and developed a brain tumor. DESCRIPTION: The patient was treated because of his paranoid schizophrenia with psychoactive drugs and different kinds of psychotherapies from he was twenty. When he was 48 years old he developed a brain tumor. The psychiatrist who used to treat him knew the music affinity of the patient. He was sent to me for a psycho therapy treatment after the first surgical intervention. I went along the patient, in a discontinuous way during almost two years an a half from that moment until his death. He was operated on his brain twice more. As the patient was a few words person, music and songs interceded to avoid his loneliness. These resources allowed me go together with him during the most difficult and last time of his life. This way he could communicate his different moods, thinking and feelings about his life and his future death.

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El encuentro entre Musicoterapia y Dramaterapia en el tratamiento de pacientes psiquitricos.


Julieta Marina Colagreco - Grace Schuchner
RESUMEN: La realizacin de un abordaje co-teraputico entre una musicoterapeuta y dramaterapeuta en el rea de salud mental. El uso de la msica como facilitadora en el proceso dramateraputico de pacientes psiquitricos.

DESCRIPCION: La dramaterapia es una terapia artstica basada en el proceso y el arte teatral que se aplica clnicamente a individuos y a grupos. El BADth (British Association of Dramatherapists) ha establecido en 1991 la siguiente definicin. La dramaterapia es el uso intencionado de los aspectos curativos del drama dentro de un proceso teraputico. La dramaterapia se sirve del teatro como instrumento, gracias al cual, podemos acercarnos a los problemas emocionales del paciente/cliente/actor. Dicho "instrumento" consiste en propuestas de ejercicios dramtico- teraputicos, desarrollo de roles, improvisaciones teatrales, escenificaciones de cuentos, y creacin de guiones a travs de diferentes tcnicas expresivas. Las aplicaciones clnicas de la dramaterapia van desde procesos teraputicos individuales, hasta trabajo con familias, grupo y comunidades. A travs del trabajo de Drama Terapia realizado con pacientes esquizofrnicos crnicos durante siete aos en el hospital psiquitrico Mazra, ubicado en el norte de Israel, se ha podido observar la importancia de la msica como parte del encuadre teraputico y la necesidad de los pacientes de la reiteracin de determinados temas musicales como facilitadora de su propio proceso. Esta experiencia da lugar a la posibilidad de pensar un trabajo co-teraputico entre la musicoterapia y la dramaterapia. A travs de un dilogo entre la musicoterapeuta y la dramaterapeuta se dar cuenta del aporte enriquecedor entre ambas disciplinas mediante la presentacin terica de algunos casos. Luego se realizar una experiencia vivencial respecto de lo anteriormente expuesto.

NOMBRE Y DATOS DE AUTORES: Julieta Marina Colagreco Grace Schuchner CONTACTO Nombre: Grace Schuchner Direccin: Libertador 8560 12 A (1429) Capital Federal Buenos Aires Telfono: 5778-2673/ Celular: 156-493-2126 Fax: 5778-2673 e.mail: graceschuchner@gmail.com MINI BIOGRAFIA DE LOS PRESENTADORES: GRACE SCHUCHNER Formacin y desarrollo profesional como actriz, profesora de teatro y dramaterapeuta ejercido durante 21 aos en Paris, Barcelona e Israel. Graduada en Dramaterapia en Israel, Psicologa Mercy Collage, USA.

The encounter between Music Therapy and Dramatherapy in the treatment of psyquiatric patients. SUMMARY: A co-therapeutic approach between a music therapist and a dramatherapist in mental health. The use of music as a facilitator in the dramatherapeutic process in psychiatric patients.

DESCRIPTION: Dramatherapy is an artistic therapy based on the theatrical process and art, clinically applied to individual and groups. BADth (British Association of Dramatherapists) made the following definition back in 1991. Dramatherapy is the intentional use of the healing aspects of drama within a therapeutical process. Dramatherapy uses theatre as a tool which enables us to approach the patient's/clients/actor's emotional problems. Said tool consists of the proposal of dramatic-therapeutic drills, the development of roles, theatrical improvisation, story staging and script work through the different expressive techniques. The clinical applications of dramatherapy range from individual therapeutic processes to the work with families, groups, and communities. Thanks to the work of Dramatherapy carried out on chronic schiz129 ophrenic patients during seven years at Mazra psychiatric hospital (at the North part of Israel), the importance of music as part of the therapeutical framework was observed, as well as the patient's need to repeat certain theme songs as a facilitator for their own process.

This experience allowed the consideration of a co-therapeutical work between music therapy and dramatherapy. The dialogue between music therapy and dramatherapy reveals the enriching contribution of both therapies by means of the theoretical presentation of some cases. Later on, an existential experience will be carried out related to the abovementioned.

NAMES AND INFORAMTION OF THE AUTHORS: Julieta Marina Colagreco Grace Schuchner

CONTACT Name: Grace Schuchner Address: Libertador 8560 12 A (1429) Capital Federal Buenos Aires Telephone: (5411) 5778-2673/ Mobile: (54811) 6-493-2126 Fax: 5778-2673 e-mail: graceschuchner@gmail.com

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BEING AND TOGETHERNESS meaning creation in music therapy


Ann-Sofie Paulander Bck
Abstract PhD Thesis: Being and Togetherness meaning creation in music therapy sessions. How do clients and therapists create meaning in different kinds of music therapy? The thesis contains an exploration of experiences of being and togetherness through illuminating a variety of the music therapy methods used in Sweden. Description In the PhD Thesis: Being and Togetherness meaning creation in music therapy, clients and music therapists experiences of being and togetherness in music therapy are explored. How do the participants create meaning in music therapy? The thesis focus on music therapists and clients experiences of being and togetherness in different kind of music therapy sessions. The aim is to explore the participants descriptions of experiences and study how these experiences are expressed or performed in the sessions. From a variety of methods that exist within the field of the Swedish music therapy; Guided Imagery and Music, Function Oriented Music Therapy and Analytical Oriented Music Therapy, 18 sessions in medical and pedagogical contexts are explored. Each session is videotaped and followed up by interviews of client and therapist separately. The perspective is hermeneutic phenomenology based on the thoughts of Husserl, Heidegger, Marcel, Lvinas, Merleau-Ponty and Ricur and the method is inspired by EEP, the Empirical Phenomenological Psychology method (Giorgi 2006, Karlsson 2007, Walle & Halling 1989). The protocols from the interviews have, after transcription, been divided into meaning units. The meaning units were then transformed and synthesized into a general structure of meaning. The aim of the general structure is to describe the participants experiences of meaning as a whole. Being and Togetherness is currently an ongoing study so the result is not yet completed. The result shows so far five meaning units; emotion, communication, relationship, purpose and new knowledge, and a general structure consisting of experiences of musical consciousness. This musical consciousness shows itself through three modes of being; play, practise and drama. The music gives the clients an opportunity to focus on as-if-experiences with a possibility to feel, master, discover, explore, explain and understand thoughts and feelings, a positive challenge for change and development of new ways of being. Ann-Sofie Paulander Bck Music therapist, prof. doctoral candidate The Royal College of Music in Stockholm Sweden ann-sofie.paulander@kmh.se Mobil + 46 (0)73 964 96 95

Ttulo EL SER Y EL SENTIDO DE AFINIDAD (Being and togetherness) La creacin de sentido en la musicoterapia. Resumen (Abstracto) Tesis de Doctorado: El Ser y el Sentido de Afinidad - La creacin de sentido en las sesiones de terapia. Cmo crean sentido clientes y terapistas en diferentes tipos de terapias musicales? Esta tesis contiene una exploracin de las experiencias del ser y de su sentido de afinidad ilustradas a travs de una diversidad de mtodos musicoteraputicos usados en Suecia. Descripcin En esta tsis de doctorado: El Ser y el Sentido de Afinidad La creacin de sentido en las sesiones de terapia, son exploradas las experiencias del ser y el sentido de afinidad. Como hacen los participantes para crear sentido en la musicoterapia? Esta tesis enfoca las experiencias del ser y el sentido de afinidad de terapistas y clientes en sesiones en donde se aplican diferentes tipos de musicoterapias. El objetivo es explorar la descripcin de las experiencias de los participantes y estudiar como estas experiencias se expresan o funcionan en las sesiones, desde una variedad de mtodos que existen dentro del campo de la musicoterapia sueca. Los mtodos Guided Imagery and Music, Function Oriented Music Therapy and Analytical Oriented Music Therapy, son explorados en 18 sesiones, en contextos clnicos y pedaggicos. Cada una de las cuales han sido filmadas y seguidas por medio de entrevistas con clientes y terapistas separadamente. El anlisis se lleva a cabo desde la perspectiva hermenutica feno13enolgica basada en las ideas de Husserl, Heidegger, Marcel, Lvinas, m1 Merleau-Ponty y Ricur y el mtodo est inspirado en el EEP, El Mtodo de Psycologia Fenomenolgica Emprica (Giorgi 2006, Karlsson 2007, Walle & Halling 1989). Despus de la transcripcin, los protocolos de las entrevistas fueron divididos en unidades de sentido. Las

unidades de sentido a su vez fueron transformadas y sintetizadas en una estructura general de sentido. El objetivo de esta estructura general es describir por parte de los participantes la experiencia de sentido en su totalidad. El Ser y el Sentido de Afinidad es actualmente un estudio que todava est siendo llevado a cabo y cuyo resultado por lo tanto an no es definitivo porque no ha sido terminado. El resultado muestra por ahora cinco unidades de sentido: emocin, comunicacin, relaciones, propsito, y conocimientos nuevos., y una estructura general que consiste en experiencias de consciencia musical. Esta consciencia musical se expresa a travs de tres modos de ser: en el juego, la prctica y el drama. La msica le da a los clientes la oportunidad de tantear las como-si-experiencias ( as-if-experiences) y una posibilidad de sentir, dominar, descubrir, explorar, explicar y entender ideas y sentimientos, un reto positivo para crear un cambio y desarrollar nuevas maneras del ser.

132

A Music Therapy Outpatient Program for Adults with Heart and/or Lung Disease.
Ronit Azoulay
Abstract: This presentation will include an overview of a music therapy program and research study in an outpatient program for adults with heart and/or lung disease. The program includes outpatient music therapy groups involving the use of percussion and wind instrument playing, singing and music visualization and a randomized, controlled clinical research study. Esta presentacin incluir una vista general de un programa de la terapia de la msica y el estudio de investigacin en un programa de paciente externo para adultos con corazn y/o enfermedad pulmonar. El programa incluye los grupos de la terapia de la msica de paciente externo que implican el uso de la percusin y el instrumento de viento que juega, canta e imagen mental de msica y un estudio clnico, controlado y aleatorizado de investigacin. DESCRIPTION (300 word maximum)The session will include an overview of the Music for AIR (Advances in Respiration) and Music for CAIR (Cardiac Advances in Rehabilitation) programs for adults with heart and/or lung disease at The Louis Armstrong Center for Music & Medicine at Beth Israel Medical Center in New York City. The program includes outpatient music therapy groups involving the use of percussion and wind instrument playing, singing, and music visualization and a randomized, controlled clinical research study. The clinical needs of this population will be discussed and cases presented to illustrate the music therapy approach, assessment model and treatment methods. Experiential exercises as well as opportunities for discussion will be incorporated. PRESENTER NAME(S) AND AFFILIATION(S) - Ronit Azoulay, MA, MT-BC, LCAT, The Louis Armstrong Center for Music & Medicine, Beth Israel Medical Center, New York, NY USA CONTACT INFORMATION - Ronit Azoulay, MA, MT-BC, LCAT, The Louis Armstrong Center for Music and Medicine, Beth Israel Medical Center, First Ave at 16th St., New York, NY, 10003. Phone: 212-420-2709. Fax: 212-420-2726. Email: razoulay@chpnet.org MINI-BIOGRAPHY - Ronit Azoulay works at The Louis Armstrong Center for Music & Medicine providing outpatient and inpatient music therapy services for adults with heart and/or lung disease and coordinating a research study.

133

ETHNOMUSIC IN MUSICTHERAPY: THERAPEUTIC ASPECTS OF THE TRADITIONAL MUSIC

ETHNOMUSIC IN MUSICTHERAPY: THERAPEUTIC ASPECTS OF THE TRADITIONAL MUSIC Abstract If we define the Ethnomusicology the study of the oral traditional music and that the Music Therapy include the exploration of the individual world music we can find analogy and difference beetween these two practical. A travel inside ritual music from mediterranean and asiatic cultures and their therapeutic aspects.

134

A Grounded Theory Inquiry of Solitary Music Listening as a Social Process


Jennifer James Nicol
ABSTRACT: Doctoral research (Nicol, 2001) implicated solitary music listening as a social process that helped women manage the challenges of chronic illness. Grounded theory was used, in the present study, to inductively generate a mid-range theory advancing knowledge about social and psychological functions of solitary music listening. RESUMEN: la investigacin doctoral (Nicol, 2001) implic la audicin de msica en solitario como un proceso social que ayud mujeres a controlar los retos de enfermedades crnicas. Para el presente estudio se utiliz el muestreo terico para generar inductivamente conocimiento base para una teora de alcance medio sobre funciones sociales y psicolgicas de la audicin de msica en solitario. DESCRIPTION: The present study is part of a sustained research enterprise focused on advancing knowledge about the therapeutic implications of music listening, and builds on doctoral research (Nicol, 2001) that implicated solitary music listening as a social experience helping women manage the challenges of chronic physical illness. Chronic health conditions are associated with multiple impacts causing longstanding, unpredictable disruptions in all aspects of life (e.g., Jensen & Allen, 1994; Morse & Johnson, 1991) that are best addressed with specific coping strategies that facilitate adjustment to a changed health condition (e.g., Veiel & Baumann, 1992). Social support, in particular, has been identified as having important practical implications for adjustment (e.g., Symiester & Friend, 2003). Despite being commonly understood as aid offered by human beings, social support has also been conceptualized as the perception of being connected to others (Lubkin, 1998). This suggests that social support may be experienced without face-to-face human contact, and solitary music listening appears to engender such a perception. Qualitative studies of everyday music listening describe solitary music listening as a complex, meaningful experience used intentionally, and subconsciously, to meet goals and needs, including social needs (e.g., Nelson, 1994; Pederson, 1994; Nicol, 2001). Grounded theory was used to develop an explanatory model extending current knowledge of music listening as a social process. The guiding research question was How do women living with chronic physical illness experience solitary music listening as a social process? Twenty women, diagnosed with a physical condition that was managed rather than cured, were interviewed on multiple occasions. Data was analyzed using a constant-comparative method of analysis in order to identify constructs and build theory via repeated cycles of data collection and analysis. The resulting mid-range theory describes plausible relationships amongst sets of concepts that have implications for both research and practice. DESCRIPCIN: El presente estudio forma parte de un programa de investigacin continuada centrado en avanzar el conocimiento sobre las implicaciones teraputicas de la audicin musical, y ampla la investigacin doctoral (Nicol, 2001) que implic la audicin de msica en solitario como una experiencia social que ayuda a las mujeres a controlar los retos de enfermedades fsicas crnicas. Las condiciones crnicas de salud se asocian con impactos mltiples causantes de desrdenes imprevisibles y duraderos en todos los aspectos de la vida (e.g., Jensen & Allen, 1994; Morse & Johnson,1991) y la mejor forma de tratarlos es con estrategias especficas de resistencia, lo cual facilita el ajuste a un cambio de condicin de salud (e.g., Veiel & Baumann, 1992). Se ha determinado que el apoyo social, en particular, tiene implicaciones prcticas importantes en el ajuste (e.g.,Symiester & Friend, 2003). Aunque normalmente se entienda como ayuda ofrecida por seres humanos, el apoyo social tambin se ha conceptualizado como la percepcin de estar conectado a otros(Lubkin, 1998). Esto sugiere que el apoyo social se puede experimentar sin contacto humano cara a cara, y la audicin de msica en solitario parece generar esta percepcin. Estudios cualitativos de audicin diaria de msica describen la audicin de msica en solitario como una experiencia compleja, significativa que se usa intencionalmente, y subconscientemente, para lograr objetivos y necesidades, con inclusin de las necesidades sociales (e.g., Nelson, 1994; Pederson, 1994; Nicol, 2001). Se utiliz el muestreo terico para desarrollar un modelo explicativo que ampliara el conocimiento actual de la audicin musical como proceso social. La pregunta directora de la investigacin fue Cmo experimentan las mujeres que viven con una enfermedad fsica crnica la audicin de msica como proceso social?. Se entrevistaron en mltiples ocasiones veinte mujeres, diagnosticadas con una condicin fsica controlada, pero no curada. Los datos se analizaron usando un mtodo de anlisis constantemente comparativo para identificar constructos y elaborar teora mediante ciclos repetidos de recogida de datos y anlisis. La teora de alcance medio resultante describe relaciones crebles entre conjuntos de conceptos que tienen implicaciones tanto para la investigacin como para la prctica.

PRESENTER NAME AND AFFILIATION: Dr. Jennifer James Nicol (MTA, RDPsych), Assistant Professor/Accredited Music Therapist/Registered Doctoral Psychologist, University of Saskatchewan, Saskatoon, Saskatchewan, CANADA CONTACT INFORMATION: 28 Campus Drive, University of Saskatchewan, Saskatoon, Saskat135 wan, CANADA S7N 0X1 che Phone 1-306-966-5261; Fax 1-306-966-7719; Email jaj.nicol@usask.ca

MINI-BIOGRAPHY: Dr. Nicol is a Canadian health researcher, Accredited Music Therapist (Canadian Association for Music Therapy) and Registered Doctoral Psychologist (Saskatchewan College of Psychologists), advancing a research program on the benefits of music. For further information, please see http://www.usask.ca/education/people/nicolj.htm

136

La utilizacin de la msica por profesionales de Salud: una mirada musicoterpica


Rebeca Ladislau Ferreira
Resmen: Este trabajo tiene como temtica la investigacin del uso de la msica por los profesionales del rea de Salud, as como tambin hacer una propuesta de la implantacin de la Musicoterapia en la humanizacin del servicio pblico de salud en Brasil, SUS(Sistema nico de Sade), tanto para los usuarios como para los profesionales de Salud. Descripcin: Es un trabajo de revisin bibliogrfica, de final de carrera (tesis), necesario para graduarse en la Universidade Federal de Gois en la carrera de Musicoterapia. Este trabajo viene por medio de bibliografa de profesionales de el rea de salud, traer el informe de las profesiones que ms utilizan o que ms pesquisan y escriben sobre el uso de la msica en la atencin en Salud, y viene traer por medio de eso una posible ayuda sobre el uso adecuado o no de la msica para los profesionales de Salud, como tambin exponer sobre la Musicoterapia, como modo de divulgarla, hablar sobre conceptos de msica, conceptos de salud, los efectos de la msica en el cuerpo humano, hablar sobre los proyectos del gobierno federal en el rea de salud, sobre el SUS, y proponer un proyecto para la implantacin de la Musicoterapia como ayuda en la humanizacin de los profesionales de Salud. Nombre y datos del autor: Rebeca Ladislau Ferreira , estudiante del ltimo perodo de la carrera de Musicoterapia en la Universidade Federal de Gois, Brasil, as que al ao ya estar graduada y ya ser musicoterapeuta. Contacto: Rebeca Ladislau Ferreira, Rua 4 N 294 Apt 201 St. Central rebecalafer@yahoo.com.br / nazzda@gmail.com Mini Biografia del presentador o presentadores: Musicoterapeuta graduada por la Universidade Federal de Gois, portadora del diploma DELE de espaol, nvel intermdio, pasantias realizadas en el rea de salud mental, clnica general, y rehabilitacin motora. CEP: 74020-060 Goinia-GO/Brasil, (55 + 62) 32259959,

137

The Mobile Music Recreation Model: A Polish Model for Prevention and Intervention
Krzysztof (Kris) Stachyra
Abstract: ENGLISH: This session will present the Mobile Music Recreation Model (MMR), one of the most popular music prevention models in Poland. Originally developed for children with cognitive disabilities it has been applied to a wide range of clients and also adapted for use in educational settings. The MMR Model presents a framework that consists of five basic elements. Its designed to be carried out with a variety of Orffstyle percussion. SPANISH: En la sesion se va a presentar un modelo de Recreacion Musical Movil, uno de los modelos mas populares de la profilactica musical en Polonia. Creado para los nios con discapacidades mentales y posteriormente adaptado para un amplio circulo de interesados entre los cuales se considera la educacion. El modelo de RMM consta de cinco elementos basicos. En este modelo se aprovecha los sencillos instrumentos de acompaamiento como tambien el instrumentario de Orff.

Description: The Mobile Music Recreation Model (MMR) was developed in the early 1980s by Polish certified music therapist and medical doctor, Dr. Maciej Kieryl. Originally developed for children with cognitive disabilities in Warsaw childrens hospitals, the MMR model has been applied to a wide range of clients. The model has also been adapted for use in educational settings and is popular across Poland. The MMR Model presents a framework that consists of five basic elements: 1. 2. 3. 4. 5. Expressive of emotional energy Rhythmisation Sensibility Relaxation Activisation

Each element moves the participants through phrases of active physical states and emotional expression. The model is designed to be carried out with simple accompaniment instruments (i.e. flute, harmonica) and a variety of Orff-style percussion. It is often employed by teachers and other professionals. The five elements of the MMR model give participants opportunities for physical and emotional expression. In phase one, children are presented with activities that are dramatic and sometimes humorous to promote a release of energy. Children are then directed to more structured rhythm activities in phase two. During phase three, instruments are used for emotional expression to explore empathic responses. Children then move into a relaxation phase which engages them in receptive exercises. Based on the location of the sessions, the final phase can be used to prepare children to return to an active state for participation in other classes/settings. The phases provide a basic framework which can be modified to meet the needs of the participants. This session will present the overall framework of the MMR model and implications for potential integration into music therapy practice.

Contact address: Dr. Krzysztof (Kris) Stachyra Maria Curie Sklodowska University Al. Krasnicka 2A 20-718 Lublin POLAND Email: muzykoterapia@interia.pl Phone: (0048) 500 840 060

138

Research and development of a multi-modal computer aided music therapy analysis system.
Elaine Streeter
Abstract: What kind of computer-aided tool (or tools?) can best serve the needs of music therapists? Research and development of a multi-modal computer aided music therapy analysis system.

Working music therapists often dont have time to regularly keep track of the core objective data they and their clients are producing i.e. the music. This presentation describes a collaborative research project based at the University of York. The purpose of the project is to investigate how 21st century technology can aid music therapy evaluation. Computers are very good at doing some things and not at all good at other tasks. This presentation describes (in language music therapists will be able to understand) our process in investigating ways in which computer aided analysis can speed up the evaluation of clinical music therapy. A survey investigating music therapists user needs will be presented alongside software functions (algorithms) specifically devised for music therapy analysis. Elaine Streeter Senior Research Fellow in Music Therapy Department of Music University of York Heslington YORK YO105DD Email: es530@york.ac.uk

139

Round Table and Debate on Computer Aided Music Therapy Analysis Systems.
Elaine Streeter - Mathew Davies - Avi Gilboa - Jaakko Erkkil - Wendy Magee
ABSTRACT: Most of us use computers nearly every day. So can computer analysis systems that know about music help music therapists evaluate their treatments more objectively? This is a chance for congress participants to find out what computer aided music therapy analysis is, what it can do now and for participants to influence what it will deliver in the future. Elaine Streeter and Mathew Davies will present their work on a prototype system to evaluate music therapy with patients with neuro-disability, Avi Gilboa will present his work on developing a music therapy session notation and analysis software program, Wendy Magee will present her research findings on music therapists attitudes to using technology, Jaakko Erkkil will update us on computer analysis research in Finland and Kate Heath will facilitate the debate from the floor. The aim of the round table is to de-mystify technical terms and enable an exchange of views between researchers and practitioners. What are researchers working on and what do practitioners want? There will be a questionnaire for participants to fill in and return to us during the congress. During the presentations our aim will be to de-mystify technical terminology so that everyone present can understand what is being described and therefore have a chance to ask questions and learn more about this fascinating area of research which we hope will lead to more accurate and useable evidence of the benefits of music therapy in the 21st century.

Round Table Presenters Elaine Streeter Principal Researcher White Rose Health Innovation Project Senior Research Fellow in Music Therapy and Associate Researcher in Electronics University of York UK Mathew Davies Research Associate White Rose Health Innovation Project Associate Researcher in Music Information Retrieval Centre for Digital Music Queen Mary College University of London UK Avi Gilboa Lecturer in Music Therapy and Social Work Bar-Ilan University Israel Jaakko Erkkil Professor of Music Therapy Music Therapy Department University of Jyvaskyla Finland Wendy Magee International Fellow in Music Therapy Royal Hospital for Neuro-Disability London Honorary Senior Research Fellow Kings College London The debate with congress participants will be led by: Kate Heath Senior Music Therapist Coordinator Technology Group the Association of Professional Music Therapists UK

140

LA MUSICOTERAPIA EN LOS ESTADOS DEPRESIVOS DE LOS PACIENTES CON SIDA


Cristiano Steenbock
RESMEN La depresin es uno de los principales factores de inmunodepresin pacientes seropositivos. La musicoterapia actua pricipalmente en la recomposicin emocional del individuo, fortaleciendo s auto-estima y mejorando considerablemente la calidad de vida. DESCRIPCIN En 1981, se encontr un retrovirus considerado el agente etiolgico de una enfermedad que ya haba infectado personas en todo el mundo, y posteriormente sera conocido como SIDA (Sndrome de Inmunodeficiencia Adquirida). El HIV, como es conocido, sera responsable de millones de muertes en los siguientes aos. Hoy en da, el tratamiento para el SIDA cuenta con remedios que impiden la entrada del HIV en las clulas y su posterior reproduccin, aunque no existe todava una cura y los efectos colaterales que estos medicamentos provocan contribuyen en el aumento del estado depresivo de los pacientes seropositivos. El paciente que sufre el contagio de HIV y posteriormente la enfermedad, debe recibir un tratamiento especial. Su condicin psicolgica es dbil hasta el punto de que una depresin puede instalarse fcilmente. Esta depresin puede ser tanto desde el punto de vista fsico como mental. Quiere dever que el paciente atinge un grado depresivo donde s sistema inmunolgico se torna inmunosupresor, sin possibildad efectiva de reaccionar a la enfermidad. La Musicoterapia, especficamente en esta patologa, debe procurar no slo una herramienta para ayudar al proceso de ayuda del individuo, concretando su identidad, sino tambin como fuente cuestionadora e asistencial de cmo se form ese individuo a nivel conciente e inconciente, y como eso se reflej y se refleja en su vida. En la mayoria de los casos acompaados por la musicoterapia, hay una mudanza en los estados depresivos, aliada principalmente con un aumento de las clulas de defensa y reduccin de la carga viral.

NOMBRE Y DATOS DEL AUTOR Cristiano Steenbock - Alumno de 4 ao de lo curso de musicoterapia de la Faculdad de Artes del Estado de Paran/Brasil. CONTACTO Cristiano Steenbock Rua Catulo da Paixo Cearense, 357 Cajur Paran Brasil (0xx41) 3226-1716 crisbock@hotmail.com MINI BIOGRAFIA DEL PRESENTADOR

Participaciones con trabajos: -Primeiro Simpsio Internacional de Cognio e Artes Musicais, da Universidade Federal do Paran (UFPR - 2004) -Simpsio de Pesquisa em Msica, da Universidade Federal do Paran (UFPR - 2006) -Congresso Latino-Americano (CHILE 2007) -Msico, arranjador e compositor.

141

THE CO-THERAPIST, IN MUSIC THERAPY, DOES NOT NEED TO BE A TRAINED MUSIC THERAPIST
Andr Brandalise
Abstract: The clinical practice, according to Music-centered and Nordoff-Robbins models, is done frequently by two therapists. This presentation aims to discuss the role and the necessary training of the co-therapist. Description: I am a clinical music therapist and work with Mentally Handicapped people at Centro Gacho de Musicoterapia, in the city of Porto Alegre, RS, Brazil. My clinical-creative work has its major influence in the Music-centered and Nordoff-Robbins Models whose practices are frequently done by two therapists: a music therapist and a co-therapist. I also work this way. I am a guitar player and my co-therapist is a keyboard player. We work together with the client facilitating the Encounters in and with the music (being in and with). I believe that it is in this so-called Creative Encounters, in and with the music, that the most meaningful therapeutic transfomations can occur. In addition, the therapy needs that the musical improvisations flow and, for this to happen, music therapist and co-therapist need to be working in a good communication. But, anyway, what would be co-therapy? Beatris Barbier (pp. 116 e 117, 2003), in her article intitled The co-therapy and the Music-centered Paradigm, discusses the role of the cotherapy in four ways: a co-therapy made by the use of medication, a co-therapy in verbal psycotherapy, the co-therapy done by the use of different professional areas and, finally, the co-therapy in Music Therapy. I understand that, presenting these four ways, Barbier opens different possibilities to think the co-therapy in Music Therapy. The co-therapy and the co-therapist have different and important roles in the Music Therapy process. How should be, then, the training of this professional? For the clinical-creative process to go in an efficient way, therapeutically speaking, would it be mandatory that this professional should be a trained music therapist? I do not think so, and from this statement, I would like to discuss the subject. Name of the author and training experience: Andr Brandalise: Bachelor of Music (UFRGS, Brazil), Post-graduated in Music Therapy (CBM-RJ) and Master of Music Therapy (NYU, USA) Contact: Rua Jos do Patrocnio, 1100/apt. 808 Porto Alegre, RS 90050-040 BRAZIL Phones: (51) 9251 9016 and (51) 3225 5008 Brazil E-mail: abranda@portoweb.com.br Mini biografy of the author: Andr Brandalise is Post-graduated in Music Therapy (CBM-RJ) and Master of Music Therapy (NYU, EUA). He is the author of the books Musicoterapia Msico-centrada (2001) and I Jornada Brasileira sobre Musicoterapia Msico-centrada (2003).

142

MUSIC-CENTERED MUSIC THERAPY AND THE PROJECT NTEGRO THEATER COMPANY: SOCIAL INSERTION OF THE AUTISTIC INDIVIDUAL
Andr Brandalise
Abstract: The use of THEATER as a form together with Music Therapy in the treatment of the individual with special needs: ntegro Theater Company. A Creative Experience which stimulates transformation. Description: I am a music-centered Music Therapist. To be a music-centered clinician implies the belief that the Creative Experience, done in and with the music, can be transformational (Brandalise, p. 27, 2001). Creativity, in the therapeutic process of an individual or group becomes powerful, promotes changes. This force-in-action is called Musicing. According to the american music therapist Kenneth Aigen the priority of any music-centered approach is to facilitate the insertion of a person in a "state of musicing. (2005, p. 65) Which would be the possible ways to promote musicing in Music Therapy? I would say that would be those that could be efficient in the process of self-knowledge and searching which is done by the client in his/her therapeutic process. In 2001, due to the Music Therapy demands of a group of individuals with special needs, I founded the NTEGRO THEATER COMPANY. This Project aims to link the Creative Experiences, lived in Music Therapy, with the DRAMA/THEATRAL PLAY. Therapeutic Goals: - the creation of a history (Group history); - creation of characters, dresses and sceneries; - creation of a sound track and script; - therapeutic rehearsals; - advertising of the show; - public performance (social insertion) in a public theater in town; - payments for each member of the Company (therapeutic professional insertion) I think there are no limits concerning the possibilities for a therapeutic relationship to explore the world of CREATIVITY in the Music Therapy room. Once the client finds more of these possibilities the more he/she is able to achieve his/her therapeutic goals. Name of the author and training experience: Andr Brandalise: Bachelor of Music (UFRGS, Brazil), Post-graduated in Music Therapy (CBM-RJ) and Master of Music Therapy (NYU, USA) Contact: Rua Jos do Patrocnio, 1100/apto. 808 Porto Alegre, RS 90050-040 BRAZIL Phones: (51) 9251 9016 and (51) 3225 5008 Brazil E-mail: abranda@portoweb.com.br Mini biografy of the author: Andr Brandalise is Post-graduated in Music Therapy (CBM-RJ) and Master of Music Therapy (NYU, EUA). He is the author of the books Musicoterapia Msico-centrada (2001) and I Jornada Brasileira sobre Musicoterapia Msico-centrada (2003).

143

Drum Circle, Facilitar el Potencial Humano a travs del Ritmo


Patricia Moll
Resmen: El Drum Circle combina, probado por el neurlogo Barry Bittman, salud y estrategias que incluyen: la expresin de uno mismo, la colaboracin y ayuda grupal, la integracin, el ejercicio fsico, reduccin del stres y por supuesto, creacin de msica espontnea. Descripcin: El taller tendr tres momentos: Un primer momento de exposicin terica con apoyo visual en Power Point. Compartiendo los beneficios que traen a la salud el compartir una actividad rtmica, de abordaje ldico, que posibilita a cada participante expresarse con su ritmo personal cualquiera este fuera, an sin saber msica, en una creacin comn de msica espontnea. Que se vuelve bella segn puedan escucharse y escuchar al otro. Basada en el primer sentido humano que desarrollamos, y el ltimo que perdemos al morir, el odo. Como as tambin los ritmos de corazn y pulmn. La dinmica ya implica un ejercicio fsico que en algunos pacientes de tercera edad es lo ms que realizan en el da. La tensin baja, aliviando el stres fsico y emocional, fortaleciendo el sistema inmunolgico. Se compartirn copias para llevarse de material impreso escrito por el neurlogo Barry Bittman. Un segundo momento: se facilitar la experiencia de Drum Circle, esta manera que propone Arthur Hull de hacer msica espontnea y, que Remo Salud difunde por el mundo a travs de HealthRHYTHMS, En rondas concntricas, que nos igualan y permiten a cada uno, una participacin centrada en el grupo que participa. Se facilitarn consignas de desafos ldico-rtmicos, para el desarrollo de la auto escucha, y la escucha grupal. No se impondrn ritmos, solo los propios de cada individualidad. Estos crearn una poliritmia sobre el eje de un pulso base dado por el facilitador en un principio y, que tomar alguno de ellos promediando la dinmica. Se facilitar, a travs de metforas rtmicas, la posibilidad de trabajar con 5 emociones bsicas, y momentos de paisajes sonoros en el estilo Murray Schafer. Un tercer momento: se abrir un espacio para que los participantes compartan sus aportes, preguntas y evalen el taller.

World XII Congress of Music Therapy Argentina 2008 Job Title: Drum Circle, Facilitate Human Potential through Rhythm Name: Patricia Moll Summary: The Drum Circle combines tested by neurologist Barry Bittman, health and strategies which include: the expression of oneself, collaboration and support group, integration, physical exercise, reducing stress and of course, creating music spontaneously. Description: The workshop will consist of three stages: A first moment of exposure notional supported visual Power Point. Sharing the benefits they bring to health sharing a rhythmic, playful approach, which allows each participant to speak with his pace this off any staff, even without knowing music, in a joint creation of spontaneous music. That becomes beautiful as can be heard and listen to others. Based on the first sense we develop human, and the last to lose to die, hearing. As well as the rhythms of heart and lung. The dynamics and comprises an exercise in some elderly patients is the most engaged in the day. The low voltage, easing the physical and emotional stress, strengthen the immune system. It will share copies of printed materials to be written by neurologist Barry Bittman. A second point: provide the experience of Drum Circle, thus proposes that Arthur Hull of making music and spontaneous, Remo Health disseminated by the world through Health RHYTHMS, In concentric rounds, which they call us and let each, focusing on a group involved. It will facilitate slogans of amusement and rhythmic challenges for the development of the car listening, and listening group. Do not be imposed rhythms, only the individuality of each. These create a poliritmia on the shaft of a pulse basis given by the facilitator at the outset and who will take any of them averaging dynamics. It will facilitate, through rhythmic metaphors, the possibility of working with 5 basic emotions, and moments of soundscapes in style Murray Schafer. A third time: will open a space for participants to share their contributions, questions and evaluate the workshop. Contacto Nombre: Patricia Moll Direccin: Belz 2721 Olivos Buenos Aires Argentina Telfono Fax: 5411 4791 0292 e-mail: patricia.molla@gmail.com Mini Biografa del presentador: Oficial Endorser Drum Circle REMO Argentina. Premio International Player Association for the Drum Circle. Congresos: APSA 2001, Educacin Tercer Milenio (3), Pedagoga Curativa, Interamericano 14e Counseling. Universidad: USAL. Publica sobre el tema. d4

Propuesta estructural de intervencin clnica con drogodependientes: Musicoterapia cognitivo-conductual.


Pablo Prez Vich
Resumen: Tras aos de experiencia con drogodependientes presentamos una propuesta contrastable y replicable de cmo realizar un proceso completo de intervencin clnica con personas con trastorno adictivo, asumiendo la dificultad de aplicar parmetros cientficos a la msica as como la ganancia teraputica enorme de incorporarla como principal tcnica en el proceso. Descripcin: Todos lo seres humanos tenemos tres formas de expresin (fisiolgica, cognitiva y conductual) que definen nuestra existencia, cada una de ellas con su estado cualitativo implcito, la emocin. Interactuamos con nuestro entorno mediante estas tres vas, pero es la emocin la que les aporta sentido e importancia, al igual que el aspecto ms complicado sobre el que intervenir voluntariamente. Para reducir esa dificultad dentro de un contexto clnico unimos en nuestra propuesta la validez y fiabilidad cientfica de la terapia cognitivo-conductual a una de las mejores herramientas de expresin emocional, la msica. Todo ello para lograr cambiar primero conductas, despus emociones y por ltimo esquemas mentales propios del drogodependiente, sumando reas de intervencin y de cambio. As optimizamos desde el comienzo la adherencia e implicacin en un proceso teraputico, fundamentado en una razn tan simple como poderosa: el placer, la emocin positiva por excelencia que provoca y mantiene una relacin continuada con la msica. Este es el medio por el cual alcanzamos los cambios consensuados: habilidades sociales adaptativas primero para dar credibilidad y significatividad a los cambios cognitivos posteriores, tan profundamente arraigados en un drogodependiente tras aos de especializacin en la bsqueda y consumo de sustancias psicotrpicas. Concretaremos qu entendemos por Musicoterapia Cognitivo-Conductual, cuales son los objetivos a lograr, como se recoge informacin verbal y no verbal, tcnicas activas de intervencin, que recursos materiales necesitamos, cmo organizar la temporalizacin y sobre todo cmo abordar el gran reto de medir el xito de la intervencin. Para ello usaremos protocolos de evaluacin que permitan contrastar el cambio producido comparando el inicio y el final del proceso, de manera que se pueda ofrecer al cliente una informacin emprica y demostrable para concluirlo con xito. El objetivo de esta presentacin es definir claramente con validez cientfica una propuesta de tratamiento clnico para poder replicarla.

Autor y contacto: Pablo Prez Vich, Ms Calle del tesoro n 12, 4C 28004, Madrid. Tlf.: 665448051 pabloperezvich@gmail.com Educador, Psiclogo, Musicoterapeuta. Centro Espaol de Solidaridad, Proyecto Hombre Madrid. phteam24@cesphmad.com Tipo de presentacin: trabajo, presentacin oral en espaol.

Mini biografa: Psiclogo de drogodependientes y menores en conflicto social, Musicoterapeuta, batera. Master Musicoterapia, Master Terapia de Conducta. Ponencias y pster en congresos nacionales, europeos y mundiales de Musicoterapia y drogodependencias.

145

The Client-Therapist Relationship: Two Perspectives


Patricia Preston-Roberts
Abstract This presentation will examine the process involved in building a client-therapist relationship from two different perspectives. The first will focus on my own experience as a client engaged in music psychotherapy. I will discuss how music and words were used to facilitate the development of a positive therapeutic relationship. Next, through case examples, I will discuss my process as a music psychotherapist. I will describe how I assess clients, determine needs, establish goals and decide on an individual basis which approaches to use in treatment. Recorded examples will be used to illustrate vocal holding, free-associative singing and the singing of pre-composed songs. -----------------------------------------------------------------------------------------------------------En esta presentacion, sera examinado el proceso en que se construye la relacion terapeuta-paciente desde dos perspectivas diferentes. La primera se enfocara en mi propia experiencia como paciente en psicoterapia musical. Discutire como la musica y la palabra fueron usados para facilitar el desarrollo de una realcion terapeutica positiva. Luego, a traves de ejemplos de casos especificos,discutire mi propio proceso como una musico-terapeuta. Describire como evaluo al paciente, determino sus necesidades, establezco metas y decido que camino a seguir en el tratamiento, segun el caso especifico de cada paciente. Muestras de audio grabadas seran usadas para ilustrar "vocal holding," canto libre asociativo, y canto de canciones precompuestas. -----------------------------------------------------------------------------------------------------------Description This presentation will examine the process involved in building a client-therapist relationship. The first perspective will focus on my experience as a client engaged in music psychotherapy. I will discuss the ways in which my own client-therapist relationship developed. I began music psychotherapy when I started my masters degree at New York University for the purposes of gaining greater understanding of the unresolved issues with which I came into the program. It became even more important as I began to deal with issues that arose during the program and, especially, those which I faced during my internship. Through verbalization, music improvisation, singing of precomposed songs and singing together, a therapeutic relationship was formed. Over time, as the relationship deepened, vocal holding, then free associative singing (Austin, 2001) allowed unexplored material to emerge and helped me to identify and express my feelings in aesthetically fulfilling ways. An understanding of vocal holding and free associative singing will also be presented so that those in attendance can gain a basic understanding of these techniques. A simple definition of each is that "vocal holding' is a method of vocal improvisation. It involves the therapists use of two chords in combination with her/his voice to create a repetitive,consistent and stable musical environment that facilitates improvised singing within the client-therapist relationship (Austin, 2002). "Free associative singing" is a technique in which words enter the vocal holding process (Austin, 2004). In this first perspective, the importance of music therapy for music therapists will be emphasized. The second perspective will include case examples. I will discuss my process as a music psychotherapist as it relates to assessing each client as an individual, determining their needs, establishing goals and discerning which approaches to use. The first case I will present will be that of L, who came to therapy with serious identity and self-esteem issues. Initially, supportive measures were used in treatment. As ego strength grew, L was able to move toward a deeper exploration of feelings from the past and in the present. During this period, vocal holding allowed him to free himself from the inner critic that had caused him serious vocal restriction and which had affected both his work and his sense of self. As this critical voice loosened its hold, his voice and his quality of life improved, and continue to improve, significantly. The second case is that of P, who initially came to me requesting assistance with her voice. After working vocally for a few months, she decided that she would like to enter into music psychotherapy with me. Much of our work was centered on uncovering unconscious material that caused repetition of old self-destructive patterns at the workplace and at home. Through vocal holding, free associative singing, other music improvisation, verbalization and the singing of pre-composed songs, each of these clients continues to develop, as do I. Recorded examples will be used to illustrate vocal holding, free-associative singing and the singing of pre-composed songs. -----------------------------------------------------------------------------------------------------------1o Esta presentacion examinara el proceso que envuelve el desarroll46 de una relacin de cliente con su terapista. La primera perspectiva se enfocara en mi experiencia como paciente en psicoterapia musical. Voy a discutir las formas en que las relaciones con mis pacientes se desarrollaron. Me inicie en psicoterapia musical cuando empec mi postgrado en la Universidad de New York con el propsito de entender

aun mejor los problemas que se presentaban. Comenz a ser aun ms importante cuando empec a tratar problemas que se presentaron durante el programa, y especialmente en mi tiempo como internista. A travs de la verbalizacion, improvisacin musical y canciones precompuesta, una relacin teraputica se fue desarrollando. A travs del tiempo, cuando las relaciones se hacan mas profundas el "vocal holding," y canto libre asociativo (Austin, 2001) me permita implementar material no explorado que me ayudo a identificar y expresar mis sentimientos en una forma mas completa. El entendimiento del "vocal holding," y el canto libre asociativo se presentaran de tal forma que los participantes a esta lectura obtendrn un entendimiento bsico de estas tcnicas. vocal holding es un mtodo de improvisacin vocal que "envuelve el uso de dos cuerdas del terapista en combinacin con su voz para crear repetitivos ...consistentes y estables en un medio musical que facilita la improvisacin musical dentro de la relacin paciente-terapista (Austin, 2002). Canto libre asociativo es una tcnica en la que las palabras entran al proceso de sostenimiento de voz (Austin 2004). En la primera perspectiva, se enfatizara en la importante de la terapia musical como paciente para los terapistas. La segunda perspectiva va a incluir algunos casos. Discutir mi proceso como terapista musical y su relacin para evaluar cada paciente individualmente, determinando sus necesidades, estableciendo goles y definiendo el enfoque a usar. En el primer caso presentare a L quien llego a terapia con problemas de identidad y amor propio. Inicialmente, medidas de soporte fueron usadas en el tratamiento. A medida que su ego se hizo mas fuerte, L, fue capaz de moverse hacia una exploracin mas profunda de sus sentimientos del pasado y el presente. Durante este periodo, el sostenimiento vocal le permiti liberarse de sus propias criticas internas que le estaban causando serias restricciones vocales que afectaban sus trabajo y a si mismo. A medida que su crtica voz perda su posicin, su voz y su cualidad de vida mejoraron, y lo contina haciendo significativamente. El segundo caso es P quien inicialmente llego a mi pidiendo ayuda con su voz. Despus de trabajar por algunos meses ella decidi entrar en terapia musical conmigo. Mucho de nuestro trabajo fue centrado en descubrir material inconsciente que causaba repeticin de formas antiguas de auto destruccin en el trabajo y en su casa. A travs del musical sostenimiento vocal, verbalizacion, improvisacin, cantando msica precompuesta cada uno de estos pacientes continua mejorando como lo ago yo al mismo tiempo. Ejemplos de grabaciones van a ser usadas para ilustrar el sostenimiento vocal, la verbalizacion, improvisacin y cantando msica precompuesta. -----------------------------------------------------------------------------------------------------------Contact Patricia Preston-Roberts, MT-BC, LCAT, AVPT e-mail: PRMusicTherapy@aol.com

147

La evaluacion diagnstica en la Musicoterapia Focal Obstetrica (MTFO).


Gabriel Fabin Federico - Margarita Ronco - Brenda M. Woldman
Resumen: La evaluacin diagnostica es una herramienta que se utiliza individualmente o en pareja, durante la primer sesin con pacientes embarazadas. Esta modalidad de evaluacin es por medio de una audicin musical. Con ella el musicoterapeuta obtiene informacin que resultara de vital importancia, y que se utiliza de base para planificar los objetivos principales del tratamiento a realizar. Descripcin: La evaluacin diagnostica es una herramienta que se utiliza individualmente o en pareja, durante la primer sesin con pacientes embarazadas, brindando un punto de partida para la planificacin del tratamiento. La experiencia de los ltimos 15 aos de trabajo permite fundamentar empricamente que, en un periodo breve de tiempo, como plantea el abordaje en el rea obsttrica, se pueden realizar trabajos teraputicos con resultados positivos. En el presente trabajo se mostraran las bases que sostienen estos fundamentos, a la vez que se compartirn 3 casos clnicos que ilustraran la presentacin. Por otro lado se expondrn los criterios que se utilizan para la seleccin musical que se usa en las evaluaciones, al igual que se definirn los tipos de tratamientos que se realizan en la modalidad de la Musicoterapia Focal Obsttrica. Aclarando si son de carcter individual, en grupo de parejas, o en grupo de embarazadas.

Nombre y datos del autor o autores: Mt Gabriel Federico, Mt Margarita Ronco, Lic. Mt Brenda Woldman Contacto: Gabriel Federico Mami Sounds Programas de musicoterapia Calle: Soler 5871 PB. TEL: 4772-1818 info@mamisounds.com.ar www.mamisounds.com.ar Mini-Biography of the speaker/s: Gabriel Fabin Federico Music Therapist graduated from Universidad del Salvador, director of Mami Sounds, Music Therapy programs development center based in Buenos Aires, Argentina. He specializes in research on the application of music therapy in prenatal patients, and in early stimulation of babies and children with special needs. He is author of the books El Embarazo Musical (A Musical Pregnancy), Msica Prenatal (Prenatal Music), Melodas para el Beb Antes de Nacer (Melodies for the Unborn Baby) and El Nio con Necesidades Especiales (The Child with Special Needs). He also teaches at the Degree in Music Therapy at Universidad Nacional del Salvador and at the Masters Degree in Music Therapy at Universidad de Barcelona, Spain. Margarita Ronco Music Therapist from Universidad de Buenos Aires. Coordinates music therapy groups for pregnant women and couples at Mami Sounds. Music Therapy for children with special needs at Mami Sounds. Music teacher at Instituto Integral de Educacin (IIE), integrating deaf and hard-of-hearing teenagers with hearing teenagers. Also coordinates Music Therapy groups for elderly people at the retirement home La Plaza, where most patients have Alzheimers disease, and at the retirement home Pensionado Francisco Darder. Brenda M. Woldman Music Therapist graduated from Universidad del Salvador. Coordinates music therapy groups for pregnant women and couples at Mami Sounds. Music Therapy for babies with special needs. National Degree in Music Education, specialized in saxophone. Graduated from National Music Education Institute "Juan Pedro Esnaola". Music teacher at Nicols Avellaneda and J. M. Cullen schools. Assistant Professor of Music therapy III - Degree in Music Therapy, Universidad del Salvador
148

Title of presentation:

Diagnostic assessment in Focal Music Therapy in Obstetrics (MTFO, as per its Spanish acronym). Abstract: Diagnostic assessment is a tool that is used during the first session with pregnant women, either on their own or with their couples. In this assessment method, the patient listens to music. This provides the music therapist with information that will be of vital importance, and that will be the basis for planning the main objectives of the treatment to be followed. Description: Diagnostic assessment is a tool that is used during the first session with pregnant women, either on their own or with their couples, providing a starting point for the treatment planning. Our 15 years work experience has allowed us to support empirically that, as the obstetrics approach suggests, short therapies can attain positive results. This presentation shows the bases that support this rationale, and is illustrated with 3 clinical cases. It also describes the criteria used to select the music for assessments, and defines the types of treatments conducted in Focal Music Therapy in Obstetrics: for individuals, for groups of couples, and for groups of pregnant women.

Official language: Spanish Name and information about author/s: MT Gabriel Federico, MT Margarita Ronco, MT Brenda Woldman Contact: Gabriel Federico Mami Sounds Programas de musicoterapia Soler 5871 PB. Tel: 47721818 info@mamisounds.com.ar www.mamisounds.com.ar Mini-Biography of the speaker/s: Gabriel Fabin Federico Music Therapist graduated from Universidad del Salvador, director of Mami Sounds, Music Therapy programs development center based in Buenos Aires, Argentina. He specializes in research on the application of music therapy in prenatal patients, and in early stimulation of babies and children with special needs. He is author of the books El Embarazo Musical (A Musical Pregnancy), Msica Prenatal (Prenatal Music), Melodas para el Beb Antes de Nacer (Melodies for the Unborn Baby) and El Nio con Necesidades Especiales (The Child with Special Needs). He also teaches at the Degree in Music Therapy at Universidad Nacional del Salvador and at the Masters Degree in Music Therapy at Universidad de Barcelona, Spain. Margarita Ronco Music Therapist from Universidad de Buenos Aires. Coordinates music therapy groups for pregnant women and couples at Mami Sounds. Music Therapy for children with special needs at Mami Sounds. Music teacher at Instituto Integral de Educacin (IIE), integrating deaf and hard-of-hearing teenagers with hearing teenagers. Also coordinates Music Therapy groups for elderly people at the retirement home La Plaza, where most patients have Alzheimers disease, and at the retirement home Pensionado Francisco Darder. Brenda M. Woldman Music Therapist graduated from Universidad del Salvador. Coordinates music therapy groups for pregnant women and couples at Mami Sounds. Music Therapy for babies with special needs. National Degree in Music Education, specialized in saxophone. Graduated from National Music Education Institute "Juan Pedro Esnaola". Music teacher at Nicols Avellaneda and J. M. Cullen schools. Assistant Professor of Music therapy III - Degree in Music Therapy, Universidad del Salvador

149

The National Voice for Music Therapy: The United Kingdoms New National Organisation
Association of Professional Music Therapists & British Society for Music Therapy (under the new organisation by July 2008)
Abstract: An overview of the new organisation for Music Therapy in the UK summarising training, areas of employment and state registration. Various benefits of membership of the Music Therapy UK organisation are outlined, including receiving the British Journal of Music Therapy and access to specialist members pages of the new website. Description: The poster will summarise the development of a new organisation for music therapy and music therapists in the UK bringing together the former two music therapy organisations to form one national voice for music therapy. The British Society for Music Therapy and the Association of Professional Music Therapists are in the process of restructuring to form one new organisation. The new organisation will promote the use and development of music therapy and represent the interests of UK music therapists within the health, education, social and voluntary sectors. The restructure will be completed in 2008 and ready to communicate in the exciting international arena of the World Congress of Music Therapy. The title Music Therapist is protected by law in the UK, meaning that only those who have completed recognised training can use this title. Our international colleagues will benefit from membership of this organisation to keep up-to-date with research, clinical, training learning from our experience of having state registration since 1997, to receive the British Journal of Music Therapy and access members-only pages of our new website with information about professional development and policy influencing the profession. This poster will provide clearly displayed information about the new organisation including how to become a member. It will also give an overview of current music therapy practice in the UK with information about training courses, employment, funding, research, and clinical sectors in which music therapists work. This fresh, innovative approach will enable anyone interested in music therapy in the UK to find cohesive, clear information from one source. The organisation will also play a key role in continuing to liaise with our colleagues around the world to maintain the UKs place in broader international developments across our profession.

Presenter: Association of Professional Music Therapists & British Society for Music Therapy (under the new organisation by July 2008) Contact Information: Tiffany Drake: Coram Family, 49 Mecklenburgh Square, London WC1N 2QA, UK Telephone: +44 7946 354 883 Fax: +44 20 7520 0301 Email: tiffany@coram.org.uk Biography: The UKs key music therapy organisations; the APMT representing music therapists and the BSMT promoting the development of music therapy are becoming one new national voice for UK music therapy Titulo: La Voz Nacional de Musicoterapia: La Nueva Organizacin del Reino Unido Abstracto: Una apreciacin global de la Nueva organizacin de Musicoterapia en el Reino Unido que resume la formacin, las areas de empleo y la inscripcin estatal. Los varios beneficios de ser socio de la organizacin de Musicoterapia Britnica son resumidos. Un ejemplo de estos beneficios es la suscripcion a la Revista Britnica de Musicoterapia y el acceso para los miembros a paginas especialistas a traves del nuevo sitio electrnico. Descripcin: El poster resume el desarrollo de una organizacin nueva de Musicoterapia y muestra como los musicoterapeutas del Reino Unido han amalgamado las dos organizaciones precedentes de musicoterapia para formar una voz nacional de musicoterapia. La Sociedad Britnica de Musicoterapia (BSMT) y la Asociacin de Musicoterapeutas Profesionales (APMT) se encuantran en el proceso de reestructuracin para formar una organizacin nueva. La nueva organizacin se enfocara en promocionar el uso y desarrollo de musicoterapia y representara los intereses de los musicoterapeutas Britnicos en los sectores de salud, education, bienestar social y voluntariado. La estructura estar completa en 2008 y se dara a conocer durante el Congresso Mundial de Musicoterapia. El ttulo de Musicoterapeuta est protegido por la ley en el Reino Unido. Es imporante hacer mencion que solo personas que hayan completado un curso reconocido por esta organizacion podran utilizar el titulo de Musicoterapeuta. Los socios internacionales de nuestra organizacion podran ben150 eficiarse del acceso a la informacin sobre la investigacin, desarrollo clinico y formacin. De esta manera podran tener acceso a las experiencias de los miembros fundadores recabada desde 1997 asi como para recibir la Revista Britnica de Musicoterapia y tener acceso a la pagina del nuevo sitio electronico exclusive para miembros y que

contiene informacin sobre el desarrollo profesional y las normas que influyen a la profesin. El poster proporcionar informacin acerca de la Nueva organizacin as como informacin de los requisitos para ser socio de la misma. Adems dar una vista holstica de la practica actual de musicoterapia en el RU con informacin sobre los cursos de formacin, el empleo, los fondos, la investigacin y los sectores clinicos en que los musicoterapeutas trabajan. Este acercamiento nuevo e innovador permitar a toda persona interesada en la musicoterapia en el RU encontrar informacione actual. Un principio elemental de esta organizacin sera la continuacin de la colaboracin con nuestros colegas en varios lugares del mundo para mantener el ejemplo del RU en la promocion de nuestra profesin. Presentador: La Asociacin de Musicoterapeutas Profesionales (APMT) y La Sociedad Britnica de Musicoterapia (BSMT), como una nueva organizacin para Julio 2008. Informacin de contacto: (via Tiffany Drake las dos son miembros de BSMT comit ejecutivo) Gemma Lenton-Smith: Numero de telephono: Music Therapy Department Royal Hospital for Neuro-disability Putney, London SW15 3JH UK Tel: 00447824 617 018 Direccin de correo electrnico: gals81@yahoo.com

151

Multiple perspectives on the value of music therapy in special education


Katrina McFerran
Title of presentation / El ttulo de la presentacin Multiple perspectives on the value of music therapy in special education Perspectivas mltiples sobre el valor de la musicoterapia en la educacin especial Abstract for Conference Brochure / Abstracto para el Folleto de la Conferencia Although music therapy has an established reputation in special education, challenges are still mounted regarding its efficacy. Evidence can be gathered in multiple ways and is valued differently depending on context. This presentation describes two diverse research projects conducted in special education and contemplates ways of knowing about music therapy. Aunque la musicoterapia tenga una reputacin establecida en la educacin especial, todava hay desafos respecto a su eficacia. Se puede reunir la evidencia de mltiples maneras y se evala de formas diferentes segn el contexto. Esta presentacin describe dos proyectos de investigacin diversos sobre la educacin especial y contempla las maneras de aumentar el saber de la musicoterapia. Description / Descripcin The evidence-based framework has now firmly established itself within special education (McFerran & Stephenson, 2007). Although a wealth of music therapy research has been conducted in the field (Rickson & McFerran, 2007), some critics suggest that this research does not reach the required standards to prove benefits for young people (Stephenson, 2004). In response to a public challenge made in the Australian context, the presenter established a collaboration with one critic and undertook a series of investigations to establish a shared understanding of evidence. This presentation will describe two projects that study individual responses to music therapy from different paradigmatic stances. The first is a qualitative case study and the second a quantitative single case design. Each approach is rigorous and involves an in-depth exploration of the individual response to the music therapy encounter, however, there are some significant differences. These will be explored through DVD example and presentation of results from each. In the qualitative case study, multiple perspectives are valued and considered equal. This is seen by the inclusion of interview material with the client, the teacher, the assistant, the music therapist and another young man involved in the sessions, as well as song materials. These various forms of data are examined in-depth and units of meaning are derived from the analysis that are then pieced together to develop a theory regarding the experience for the young man. In the quantitative single case design, video data of four young people is gathered with a control and intervention condition being repeated for each child. The data is analysed through detailed observation of the childs potentially communicative responses, paired with the therapists initiations. Data on inter-rater reliability is gathered to enhance the validity of the study, and the number and durations of the communicative episodes are tallied to gain results.

La metodologa basada en la evidencia ya se ha establecido firmemente dentro de la educacin especial (McFerran & Stephenson, 2007). A pesar de la abundancia de investigacin en la musicoterapia que se ha realizada en este campo (Rickson & McFerran, 2007), algunos crticos afirman que esta lnea de investigacin no alcanza los estndares requeridos para demostrar los beneficios para los jvenes (Stephenson, 2004). Respondiendo a un desafo pblico hecho en el contexto australiano, hemos entrado en colaboracin con uno de estos crticos, realizando una serie de investigaciones para establecer una comprensin compartida de la "evidencia". La presente comunicacin describe dos proyectos que estudian las respuestas individuales a la musicoterapia desde posturas paradigmticas diferentes. El primero es un caso cualitativo y el segundo es de un diseo cuantitativo de un caso particular. Cada enfoque es riguroso e implica una exploracin exhaustiva de respuestas de individuos a sus encuentros con la musicoterapia, sin embargo, hay algunas diferencias significativas. stas se exploran utilizando un ejemplo en un DVD y la presentacin de los resultados de cada una. En el caso cualitativo, perspectivas mltiples estn evaluadas y consideradas como iguales. Esto se ve a travs de entrevistas con un cliente, un maestro, un ayudante, un musicoterapeuta y otro joven que participa en las sesiones, as como el material de las canciones. Estas varias formas de datos se examinan en profundidad para luego desarrollar una teora sobre la experiencia del joven. En el diseo del caso individual, datos de cuatro jvenes, estn reunido en vdeo junto con una condicin de intervencin y control que se repite para cada nio. Los datos estn analizados a travs de una observacin detallada de las respuestas potencialmente comunicativas del nio, junto con las iniciaciones del terapeuta. Se renen datos sobre la fiabilidad entre asesores para aumentar la validez del estudio, y del nmero y duracin de los episodios comunicativos estn sumados para llegar a los resultados.

Presenter Name & Affiliation Dr Katrina McFerran Contact Information Katrina McFerran Faculty of Music
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The University of Melbourne Victoria 3010 Australia Phone: + 61 3 8344 7382 Fax: + 61 3 8344 5346 Email: k.mcferran@unimelb.edu.au Mini Bio Dr Katrina McFerrans clinical work, research and teaching focuses on music therapy with young people and she has a particular interest in furthering evidence of the benefits of music therapy. El trabajo clnico, investigacin y docencia de la Dra Katrina McFerran se enfoca en la musicoterapia con la juventud, y mantiene un inters particular en extender la evidencia de los beneficios de la musicoterapia.

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Musicoterapia con Adolescentes en Conflicto con la Ley Penal en Institucin Cerrada


Crespino, Claudio Daniel
:Musictherapy with adolescents in conflict with Penal Law in closed institution Resumen: Abstract:

Se relata la experiencia piloto de Musicoterapia con adolescentes en conflicto con la ley penal en institucin cerrada. A partir de concebir la Resiliencia como capacidad humana, se abordan las principales caractersticas de los pacientes, as como el sistema de admisin, derivacin, objetivos y metodologa de tratamiento. Related the pilot experience of Musictherapy with adolescents in Penal Law conflict in close institution. To start off the Resilience like a human capacity, its approached the main characteristics of the pacients, the admission system, derivation, objetives and treatment.

Descripcin: Description:

El proyecto Musicoterapia con adolescentes en conflicto con la ley penal comienza a funcionar en el ao 2007 en una institucin pblica cerrada para menores dependiente del Ministerio de Desarrollo Social. Tratndose de una primera experiencia en este rea, se detallan las principales caractersticas de la poblacin beneficiaria, las funciones de la institucin, sus objetivos generales, la conformacin del equipo tcnico asistencial y la inclusin de la Musicoterapia como tratamiento especfico, fijando los criterios de derivacin, admisin y permanencia de los jvenes en el espacio teraputico. Como marco terico referencial se desarrolla el constructo Resiliencia, entendiendo por tal a la Capacidad Humana para enfrentar, sobreponerse y ser fortalecido o transformado por las experiencias de adversidad ( Grotberg, E. 1995 ). Se compara y diferencia esta ptica de los enfoques de riesgo tradicionales y se toma el desarrollo de sus atributos, en un nivel de anlisis individual, como el principal objetivo a alcanzar durante el tratamiento Musicoteraputico. Se presenta por ltimo un tratamiento sistematizado de sesiones de musicoterapia en modalidad de abordaje grupal en donde se pauta la metodologa de trabajo utilizada, sus principales objetivos, las estrategias de intervencin, las tcnicas y los recursos empleados durante las sesiones as como en el seguimiento y la evaluacin de los pacientes. The project Musictherapy with adolescents in conflict with Penal Law it to work in 2007 in a public closed institution for minor dependent of Ministry of Social Development. Treating of a first experience in this area, they detail to the main characteristics of the population beneficiary, the functions of the institution, their general missions, the conformation of the technical-welfare equipment and the inclusion of Musictherapy like specific treatment, fixing the derivation criteria, admission and permanence of the young people in therapeutic space. As referential theoretical frame "Resilience" is developed construct, understanding by so to the Human Capacity to in order to face, to control and to be fortified or to be transformed by the adversity experiences ( Grotberg, E. 1995 ). This optic is compared and differentiated of the traditional risk approaches and taken the development of their attributes, in a level of individual analysis like the main objective to reach during the Musictherapy treatment.

By I complete appears a systematical treatment of musictherapy sessions in modality of group boarding in where guideline the used methodology of work, their main objectives, the intervention strategies, the techniques and the resources employed during the sessions, and pursuit and evaluation of pacients.

Datos del autor: Data of the autor:

Apellido y Nombres: Crespino, Claudio Daniel Ttulo: Musicoterapeuta Last name and name: Crespino, Cladio Daniel Title of Degree: Musictherapist Contacto: Contact:

Nombre: Claudio D. Crespino 154 Direccin: Carlos Calvo 3565, 7 C, Ciudad Autnoma de Buenos Aires. Telfono: (011) 4931-9040

e-mail: ccrespino@yahoo.com.ar Mini Biografia del presentador o presentadores: Short biography of the presenter or presenters:

Musicoterapeuta, Docente de Grado en la Licenciatura en Musicoterapia de la Facultad de Psicologa de la Universidad de Buenos Aires (U.B.A.). Trabaja desde 2001 en instituciones pblicas y privadas dedicadas a abordar problemticas de la adolescencia. Musictherapist, educational degree in Degree in Musictherapy in Psychology Faculty of the University of Buenos Aires (U.B.A.). Work since 2001 in public and privated institutions dedicated to approach problematic of the adolescence.

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Understanding the Emotional Coping Needs of Palestinian Children through Music Therapy
Gene Ann Behrens
Abstract: Although music therapy can create a safe environment while meeting the emotional needs of Palestinian children traumatized by war, therapists must first understand the unique characteristics of this population. This presentation will summarize the qualitative and quantitative information collected during my initial trip to Palestine to work with the children. Description: Various researchers have found that a large portion of Palestinian children have been traumatized by the military conflicts prevalent since 1948 (Elbedour, Onwuegbuzie, Ghannam, Whitcome, & Hein, 2007). Music therapy has the potential to create a needed safe environment and meet the emotional needs of these children. However, therapists traveling to work with Palestinian children need to first understand the unique characteristics of this population. This presentation will involve a discussion of the qualitative and quantitative information gathered during my sabbatical trip to work with Palestinian children in Bethlehem and Ramallah. There are four areas that I will investigate during my time in Palestine which I will discuss in the presentation. First, I will be learning about the Palestinian culture and how their community uniquely influences the childrens experience of the trauma in their lives. Lewis and Ippen (2004) suggest that culture can be both a protective and a risk factor and therefore therapists must balance the goals of the therapy with respect for the familys culture (p. 34). Second and related to the first, I want to interview and observe the social workers and psychologists who work with the children to better understand the childrens needs, their culture, and the therapeutic approaches that are effective. Third, as I begin to work with the children, I want to learn about their emotional development and use of emotional coping skills. I will be collecting quantitative and qualitative information about their emotional vocabulary and skills and how they musically express primary emotions. Last, I want to observe the childrens responses to various music experiences as I begin to consider protocol for developing the childrens emotional coping skills. Observations of each of these four areas will be summarized and integrated to discuss my experiences in working with Palestinian children.

Presenter Name, Credentials, and Affiliation: Gene Ann Behrens, PhD, MT-BC Associate Professor, Department of Fine and Performing Arts Director, Music Therapy Program Elizabethtown College Elizabethtown, PA USA Contact Information: 109 Charlan Blvd. Mt. Joy, PA 17552 USA Home: 717-653-4985 Work: 717-361-1991 Fax at Work: Email: behrenga@etown.edu Mini Biography of Presenter: Gene Ann Behrens, Ph.D., MT-BC, an associate professor and director of music therapy at Elizabethtown College, USA, is interested in clinical training and research pertaining to emotional meaning in music.

Ttulo: Comprendiendo las necesidades de los nios palestinos a travs de la musicoterapia. Resumen La musicoterapia o terapia musical puede crear un ambiente seguro para los nios palestinos traumatizados por la guerra, al mismo tiempo que puede ayudarlos a enfrentarse o lidiar con sus emociones, pero los musicoterapeutas deben en primer lugar asegurarse de que comprenden las caractersticas nicas de esta poblacin. Esta presentacin expondr, en forma de resumen, la informacin cuantitativa y cualitativa que obtenga durante mi primer viaje a Palestina para trabajar con nios.

Description:

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Varios investigadores han descubierto que una gran proporcin de nios palestinos han sido traumatizados por los conflictos militares

prevalentes desde 1948 (Elbedour, Onwuegbuzie, Ghannam, Whitcome, & Hein, 2007). La musicoterapia tiene el potencial de crear un muy necesitado ambiente de seguridad y satisfacer las necesidades emocionales de estos nios. Sin embargo los terapeutas que viajan para trabajar con nios palestinos deben en primer lugar comprender las caractersticas nicas de esta poblacin. Esta presentacin expondr la informacin cualitativa y cuantitativa recogida durante mi viaje en mi ao sabtico a Palestina para trabajar con nios en Beln y Ramala. Durante mi viaje a Palestina voy a centrarme en cuatro reas. En primer lugar, voy a estudiar la cultura palestina y cmo la comunidad influye en la manera en que los nios experimentan trauma en sus vidas. Lewis y Ipper (2004) sugieren que la cultura puede ser tanto una proteccin como un factor de riesgo y por lo tanto, los terapeutas deben buscar un equilibrio entre los objetivos de la terapia y el respeto a la cultura de la familia (p. 34). En segundo lugar, y de manera relacionada, quiero entrevistar y observar a los asistentes sociales y psiclogos que trabajan con los nios para comprender mejor las necesidades de los nios, su cultura, y los mtodos teraputicos que son efectivos. En tercer lugar, a medida que empiece a trabajar con los nios, quiero aprender sobre su desarrollo emocional y su uso de mtodos de enfrentamiento (coping skills). Voy a recoger informacin cualitativa y cuantitativa de su vocabulario emocional y sus estrategias, y cmo expresan sus emociones primarias musicalmente. En ltimo lugar, quiero observar las respuestas de los nios a varias experiencias musicales con el objetivo de delinear un protocolo para desarrollar los mecanismos emocionales de enfrentamiento (coping skills). Las observaciones de cada una de estas cuatro reas ser agrupada e integrada en mi presentacin en la cual expondr mis experiencias trabajando con los nios palestinos. Nombre, credenciales y afiliacin: Gene Ann Behrens, PhD, MT-BC Associate Professor, Department of Fine and Performing Arts Directora del Programa de Terapia Musical Elizabethtown College Elizabethtown, PA USA

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Musicoterapia Humanista: Un modelo de psicoterapia musical con 24 aos de experiencia.


Vctor G. Muoz Plit
RESUMEN: El modelo de la Musicoterapia Humanista se centra en el ambito psicoteraputico, fundamentado en la filosofa y psicoterapias humanistas. Consolida una metododologa y multiples tcnicas musicoteraputicas que abarcan el ambito individual, grupal, activo y receptivo. Cumplimos 24 aos de investigacin constante en el trabajo psicoemocional y transpersonal del ser humano. DESCRIPCION: Esta ponencia pretende consolidar el trabajo que durante 24 aos de investigacin y formacin musicoteraputica, hemos venido desarrollando en el Instituto Mexicano de Musicoterapia Humanista. Este modelo se fundamenta en la filosofa existencial humanista y en algunas psicoterapias como las de Carl Rogers, Fritz Pearls, John Pierrakos (Psicocorporal) y otros, que, con una visin del ser humano y de la relacin psicoteraputica diferentes, son tambin complementarias. Nuestro aporte ha sido integrar estos fundamentos y desarrollar una metodologa muy concreta de trabajo que consta de 7 pasos: 1) Planteamiento del tema, 2) Preparacin, 3) Exploracin, 4) Contacto, 5) Intensificacin, 6) Resolucin, 7) Procesamiento verbal.. Todos estas etapas de la metodologa son aplicables en la practica individual, grupal, activa y receptiva, es decir el uso amplio de la msica pregrabada en la terapia individual y grupal as como el trabajo con la voz, los instrumentos musicales y la experiencia psicocorporal y transpersonal de los pacientes. Hemos desarrollado una forma de anlisis musical que vincula a la msica con la persona, incluyendo las propiedades intrnsecas de la msica (ritmo, meloda, armona, timbre) con la respuesta humana a la msica (sensacin, topografa corporal, sentimiento, actitud, estados no ordinarios de conciencia y uso) Nos hemos confinado al trabajo psicoemocional y a la salud mental de las personas en el rango de lo que se conoce como neurosis. Este ha sido un esfuerzo conjunto y silencioso de varias generaciones de alumnos y pacientes que han aportado sus experiencias esencialmente personales, abriendo el alma para crear un modelo que se caracteriza por el vnculo ser humano a ser humano. NOMBRE Y DATOS DEL AUTOR O AUTORES: Dr. Vctor G. Muoz Plit. Medico Cirujano. Maestra en Desarrollo Humano. Psicoterapeuta Gestalt, Psicoterapeuta Psicocorporal (Core Energtica). Especializacin en Imaginacin Guiada con Msica. Coautor con la Dra. Cheryl Dileo del libro Perspectivas Internacionales de Musicoterapia. Miembro del comit cientifico del 9 Congreso Mundial de Musicoterapia celebrado en Washington D.C. Expositor en los Congresos Mundiales de Musicoterapia celebrados en Washington y en Oxford. Director del Instituto Mexicano de Musicoterapia Humanista. Musicoterapeuta desde hace 24 aos. Msico

CONTACTO: Vctor G. Muoz Plit. San Francisco 1845 Col. Del Valle Mexico, D.F. C.P. 03100 Mxico Tel: 52 55 55343446 Email: doremisol@cablevision.net.mx vgmp@hotmail.com TITLE: Humanist Music Therapy: A Musical Psychotherapy Model with 24 Years of Experience. SUMMARY: The Humanist Music Therapy Model centers around the psychotherapeutical environment, based on humanist philosophy and psychotherapies. It consolidates a methodology with multiple music therapeutical techniques that embraces individual, group, active and receptive ambits. We have achieved 24 years of constant research working with the psycho-emotional and transpersonal side of the human being. DESCRIPTION This lecture seeks to consolidate the work that we have been developing for 24 years of Music Therapy research and training in the Mexican Institute of Humanist Music Therapy (Instituto Mexicano de Musicoterapia Humanista). This model is based on the existential humanist philosophy, as well as in some psychotherapies such as Carl Rogers, Fritz Pearls and John Pierrakos (Psycho-corporal), among others, which even with their different visions of the h158an being and the psychotherapeutical relation, also turn out to be um complementary. Our contribution consists of integrating all these foundations and developing a concrete work methodology that consists of 7 steps: 1) Establishing the theme, 2) Preparation, 3) Exploration, 4) Contact, 5) Intensification, 6) Resolution, 7) Verbal Processing. All

these methodology stages apply to the individual, group, active and receptive practices, in other words, it implicates the frequent use of the music previously recorded in the individual and group therapies, as well as the work done with the voice, the musical instruments and the patients psycho-corporal and transpersonal experiences. We have developed a type of musical analysis that links the music to the person, that includes the musics intrinsical properties (rhythm, melody, harmony and tone quality) along with the human response to the music (sensation, corporal topography, feelings, attitude, unordinary states of the conscience and use of the musical piece). We have focused on the psychoemotional work and the mental health of the people that fall in the range that is known as neurosis. This has been a jointed and silent effort of various generations of students and patients that have contributed with their personal and essential experiences, opening up their soul to create a model that represents the connection from human being to human being. NAME AND AUTHOR OR AUTHORS INFORMATION: M.D. Vctor G. Muoz Plit. Surgeon. Masters Degree in Human Development. Gestalt Psychotherapist, Psycho-corporal Psychotherapist (Core Energetics). Specialized in Guided Imagination Through Music. Co-author of the book Music Therapy International Perspectives (Perspectivas Internacionales de Musicoterapia) along with Dr. Cheryl Dileo. Member of the Scientific Committee of the 9 World Congress of Music Therapy that took place in Washington D.C. Lecturer in the World Congress of Music Therapy in Washington and Oxford. Director of the Mexican Institute of Humanist Music Therapy (Instituto Mexicano de Musicoterapia Humanista). Music Therapist for 24 years. Musician. CONTACT: Vctor G. Muoz Plit. San Francisco 1845 Col. Del Valle Mexico, D.F. C.P. 03100 Mxico Tel: 52 55 55343446 Email: doremi@cablevision.net.mx vgmp@hotmail.com

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Musicoterapia en Rehabilitacin Psiquitrica.


Carlos Butera - Andrea Coluccio - Cecilia Villalba - Laura Rossi - Cinthya Glize - Mario Gorbea
Resumen: El presente trabajo describe la organizacin de las actividades desarrolladas por el Equipo de Musicoterapia en el Hospital "Dr. Braulio A. Moyano", dependiente del Gobierno de la Ciudad de Buenos Aires, desde hace veinte aos. El Equipo ha venido desarrollando alternativas de tratamiento en servicios de pacientes agudos y crnicos, las cuales incluyen talleres expresivos, salidas a la comunidad, espectculos musicales, etc. Tambin se reflexiona acerca de aspectos tericos de la Musicoterapia y su importancia en Rehabilitacin Psiquitrica.

El Hospital Neuropsiquitrico de Mujeres "Dr. Braulio A. Moyano", dependiente del Gobierno de la Ciudad de Buenos Aires, se halla en el tradicional barrio de Barracas, ubicado en el sur de la ciudad. Fue fundado hace ya casi ciento cincuenta aos. Es un hospital monovalente, es decir que esta especializado en tratamiento de enfermedades mentales. El desarrollo y evolucin de la psiquiatra y la rehabilitacin fueron similares a las producidas en Europa y Amrica del Norte, a travs de las diferentes pocas, definiendo en la actualidad un perfil de Hospital Rehabilitador en el tratamiento de las enfermedades mentales. El Equipo de Musicoterapia, esta incluido en el Servicio de Rehabilitacin, por lo que comparte los objetivos generales del mismo. La Rehabilitacin Psiquitrica, entendida tambin como Prevencin Terciaria, representa un conjunto de recursos aplicados a reducir las secuelas de la enfermedad mental, que incapacitan a quien la sufre, impidindole recuperar su lugar en la sociedad, ya sea respecto de sus vnculos, como de su capacidad productiva, laboral y cultural. La Rehabilitacin, entonces, apunta a la resocializacin del paciente, promoviendo su adaptacin activa dentro del mbito comunitario, sin dejar de lado su subjetividad. El cumplimiento de dichos objetivos es producto de la implementacin de una metodologa destinada a recobrar el nivel de funcionamiento, mayor autonoma y recuperacin o fortalecimiento de lazos familiares y vnculos sociales, que el paciente psiquitrico crnico perdi debido a una prolongada internacin o a causa del estigma que acompaa a la enfermedad mental. La musicoterapia aborda la expresin sonoro-musical del sujeto, concibindola como la facultad que permite la integracin de aspectos alienados de su personalidad, una forma de auto-conocimiento y de construccin identificatoria. No deben descartarse, sin embargo, intervenciones de diversa naturaleza, tales como la palabra y otras formas expresivas como, entre otras, la danza y la poesa (las cuales suelen hallarse ntimamente integradas a la msica). El objetivo del equipo de musicoterapia apunta a la resocializacin del paciente, intentado moderar su forma de interaccin inapropiada o poco efectiva. Esto se consigue mediante la implementacin de metodologas centradas en los aspectos culturales, expresivos y recreativos, orientadas a recuperar sus capacidades intelectuales, operacionales y emocionales. El xito de este proceso implica una mayor autonoma del enfermo mental y una recuperacin de sus vnculos sociales. Funciones especificas: Planificacin estratgica de programas y proyectos de acuerdo a las necesidades de las personas asistidas, tanto internadas

como ambulatorias de acuerdo a los objetivos de la rehabilitacin psiquitrica y las incumbencias profesionales de la musicoterapia; Articulacin de dichas planificaciones con el equipo interdisciplinario del Servicio de Rehabilitacin (en el que adems se incluyen terapistas ocupacionales y tcnicos) y de los diferentes servicios hospitalarios; Admisin y Evaluacin de los pacientes en los servicios de internacin de corto, mediano, largo plazo y servicios ambulatorios, como asimismo de los Talleres Expresivos del Club Bonanza; Favorecer el incremento de la calidad de vida en pacientes crnicas con pocas o nulas posibilidades de alta; Promocin de la participacin comunitaria con el objeto de integrar a las personas con trastornos mentales y sus otros significativos, como actividades en la que se integran familiares, paseos y festivales; Supervisin y evaluacin de los programas; Gestiones administrativas para la obtencin de donaciones, presentacin de eventos culturales y artsticos, etc.; Presentacin de informes, estadstica mensual y memoria anual; Participacin en ateneos, reuniones de equipo; Docencia e investigacin; etc. Programa clnico asistencial El equipo de musicoterapia dispone de un rea clnico asistencial dedicada a la atencin del paciente psiquitrico en sus diferentes modalidades de tratamiento segn el organigrama del hospital: Servicios de Terapia a Corto Plazo: Admisin, Consultorios Externos, Emergencias, Guardia, Hospital de Da, Hospital de Noche, Terapia a 160 Corto Plazo y 19 Servicios de Terapia a Largo Plazo. Los musicoterapeutas que conforman esta rea planifican estrategias y programas acordes a las caractersticas de la poblacin

hospitalaria y segn sea la modalidad de tratamiento que est realizando el sujeto. La inclusin de un paciente a un tratamiento musicoterapeutico ser a partir de la demanda espontnea o a travs de una derivacin realizada por el equipo tratante. El musicoterapeuta evaluar la posibilidad y viabilidad de la atencin y el seguimiento del paciente. El hospital actualmente cuenta con seis musicoterapeutas de planta (rentados) y dos concurrentes, lo que implica un recurso humano escaso frente a una poblacin de pacientes internadas por no hablar de las consultas ambulatorias.

Tratamiento y objetivos generales Aplicacin y/o indicacin de teoras, mtodos, recursos, tcnicas y procedimientos a la prevencin, el tratamiento y la rehabilitacin, orientados a facilitar y promover la comunicacin, la interaccin, el aprendizaje, la movilizacin, la expresin, la organizacin y otros objetivos teraputicos relevantes con el objeto de atender necesidades fsicas, emocionales, sociales, mentales y cognitivas; Desarrollo de potenciales y estmulo de funciones del individuo tendiendo a que ste pueda alcanzar una mejor calidad de vida; Promocin de la recuperacin del paciente a travs de la produccin, audicin y traduccin analgica de sonidos y msica, los que permiten la emergencia, la toma de conciencia y la elaboracin de contenidos irreductibles al lenguaje (objetivacin de la experiencia subjetiva del participante) Promocin de actividades que apunten a la reinsercin social del paciente (paseos, concurrencias a actividades culturales, etc.). Metodologa Musicoteraputica: Audicin, exploracin, organizacin y anlisis de formas sonoro-musicales. Traduccin analgica de las mismas a otras formas expresivas (construccin de relatos o expresin plstica a partir de un estimulo musical, etc.) Extrapolacin a modelos conductuales y/o interpretativos del participante.

Servicios de terapia a largo plazo. La mayora de las pacientes tratadas en el hospital, son crnicas, algunas sumamente deterioradas en sus funciones globales y sin contencin familiar, y cuentan con escasas o nulas posibilidades de reinsercin social. No obstante estas condiciones, y las dificultades que presenta su atencin, el equipo tratante, garantiza mediante su intervencin, la mejor calidad de vida posible, intentado mantener condiciones socio-culturales adecuadas. Toda persona que sufre una enfermedad psiquitrica, pero fundamentalmente el paciente crnico internado no debe perder el contacto con la cultura (adems del entrenamiento o re-entrenamiento laboral y/o profesional). La expresin representa un quehacer humanizante que le brinda medios para desarrollar sus capacidades, para construir su personalidad y comunicarse con los dems. A travs de la musicoterapia es posible reconstruir en el sujeto aquello que ha desbastado la enfermedad mental y la discriminacin social que suele acompaarla. El paciente debe recuperar y en muchos casos adquirir pautas de comunicacin. Necesita desarrollar sus capacidades cognitivas a travs de actividades que lo motiven y que eleven su tan deteriorada autoestima. Fortalecer su capacidad de crear lazos afectivos y manejarse en forma adecuada en situaciones relacionales concretas. Adems de lo expresado mas arriba, se intenta promover el desarrollo de su capacidad creativa (no reducido a la produccin de formas expresivas, sino entendido adems como la posibilidad de ruptura de patrones estereotipados de conducta), tan necesaria para la adaptacin y el aprendizaje de situaciones nuevas de su realidad inmediata y mediata. Servicios de internacin de pacientes agudos En la atencin de pacientes agudos, se proveer de un encuadre donde el participante pueda servirse de la msica para vehiculizar contenidos propios y elaborarlos a travs de recursos expresivos partiendo de una actividad que le permita desarrollar una percepcin adecuada de s mismo y su mundo, optimizado sus vnculos. En virtud de que el perodo de internacin es limitado y considerando que el paciente ingresa en un estado de crisis, ya sea excitado, deprimido, confuso, etc. se hace complejo este primer acercamiento. A partir de aqu se trabaja fundamentalmente la conflictiva que motiv su internacin, para su pronta externacin y reinsercin a su medio social, donde se realizar un seguimiento en forma ambulatoria durante un perodo hasta su derivacin o alta definitiva segn el equipo tratante considere adecuado.

Servicios de atencin a pacientes en tratamiento ambulatorio El Musicoterapeuta participa del diseo del abordaje del paciente ambulatorio junto al equipo interdisciplinario. Al servicio ambulatorio (hospital de da y consultorios externos) el paciente ingresa compensado psiquitricamente. El proceso teraputico se centra en resolver dificultades concretas del sujeto para adaptarse al medio extra-hospitalario, poniendo el acento en la objetivacin de sus respuestas frente a su medio socio cultural, como tambin en el desarrollo de opciones de interaccin ms sanas y gratificantes tanto para l como para los otros significativos

Programa de Resocializacin - Talleres Expresivos


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MUSICOTERAPIA Y CONSTRUCCON DE LA IDENTIDAD SOCIAL - Nios de la Calle


Ana Maria Caramujo Pires de Campos
Resmen: Propuesta musicoteraputica aplicada en nios de la calle, de 7 a 17 aos, grupo nico y flutuante, de mayo de 2001 a octubre de 2002. Tcnicas: Improvisacin, Dramatizacin Sonoro-Musical, Re-criacin, Composicin y Imaginacin Activada a travs de la msica. Se observ la mejora en la calidad de vida de esos nios. Descripcin: ONG: CECOPI CASA ABIERTA SAN PABLO - BRASIL Musicoterapia e Construccin de la Identidade Social, consiste en una propuesta teraputica que fue aplicada en nios en situacin de riesgo, nins de la calle, de 7 a 17 aos, desde mayo de 2001 a octubre de 2002, con un total de 64 sesiones. Las mismas acontecieron semanalmente, con la duracin de una hora y media, con un nico grupo, abierto e flutuante, que vari de 2 a 15 participantes. El abordaje terico es Junguiano, coligado al abordaje corporal, permeado por el abordaje Histrico-Social. Principales tcnicas musicoteraputicas utilizadas: Improvisacin, Dramatizacin Sonoro-Musical, Re-criacin, Composicin y Imaginacin Activada a travs de la msica. La autora desarroll el trabajo de intervencin musicoteraputica a partir del repertorio y de la identidad sonora del grupo. El material: uso del propio cuerpo, material de chatarra, instrumentos musicales y CDs. El objetivo general: ayudar al grupo a desarrollar principios y valores necesarios para la construccin de la identidad social, y de su reintegracin social, sea a travs de una instituicin, o de la propia familia. Metodologia: entrevistas con educadores especializados en nios de la calle, observaciones en campo (en las calles), lectura de prontuarios pertenecientes a la Casa, entrevistas con nios de la calle para colecta de datos de anamnese y ficha musicoteraputica; entrevista con la Coordenadora de la Pastoral del Menor de la Arquidiocesis de San Pablo (Sueli Maria de Lima Camargo); datos estatsticos colectados a travs de la entrevista en el S.O.S. Nio, atendimientos de enero a diciembre de 1999 entre otros. Resultado: Los datos no recibieron tratamiento estatstico. En este estudio se observ un aumento en la frecuencia de presencia de los nios y nias en el transcurso de 64 sesiones. De los 15 nios musicoterapeutizados, uno volvi a la casa de su familia, un outro pas a vender papeles y se organiz, solo, en su casa de lata com agua y luz (sic); y, un otro tambim pas a vender papeles. Los otros nios continuan buscando un camino de desarrollo a travs de Proyetos Sociales existentes. Conclusion: A pesar de no haber sido un estudio con levantamiento estatstico se observ la mejora en la calidad de vida de esos chicos a partir del tratamiento musicoteraputico. As, ese estudio puede ser un punto de partida para cuantificar esos datos.

(GRAFICO)

AUTORA /PRESENTADORA: ANA MARIA CARAMUJO PIRES DE CAMPOS End: Rua Moxei, 438 Lapa So Paulo CEP 05068-010 Brasil Telefone/Fax: (11) 36116191 e-mail: anamariacaramujo@uol.com.br

MUSIC THERAPY AND SOCIAL IDENTITY CONSTRUCTION Street Boys Abstract: Music Therapy applied to street boys from 7 to 17 years old, in a group from May 2001 to October 2002. Technics: Improvisation, MusicalSound Dramatization, Re-creation, Composition and Actived Imagination through Music. A improvement of these boys quality of life was observed.

Description: ONG: CECOPI OPEN HOUSE SO PAULO - BRAZIL Music Therapy and Social Identity Construction, consist in a therapeutic proposal applied on children living in situation of risk, street boys, 7 to 17 years old from May 2001 to October 2002 with the total of 64 sessions. These were performed weekly, during one hour in half with a open fluctuant group, which varied from 2 to 15 participants. The theorical approach is the Jungian one, allied to corporal approach interposed by the social historic approach. Main music therapy technics used: Improvisation, Musical Sound Dramatization, Re- creation, Composition and Actived Imagination through Music. The authoress developped the work of musictherapeutic intervention from the musical repertory and from the sound identity of the group. Material: use of the own body, junk material, musical instruments, and CDs. The general objetive: to help the group to develop values and principles necessary for the construction of the social identity, and its social re-integration being through a institution or his own family. Methodology: inte162 rviews with educators specialized in street boys, observations in their environment (street), reading of the anamnesis belong to institution (OPEN HOUSE). Interviews with the street boys in order to collect anamnesis data and musictherapeutic filing card; interview with the Coodinator of Pastoral of Minor of Archbishopric of So Paulo Brazil

(Sueli Maria de Lima Camargo); statistics data collected through the interview at Child S.O.S (governamental organ that takes care of street boys) from January to December 1999. Result: The data didnt receive statistic treatment. In this work it was observed an increase in the presence frequency of boys and girls along 64 sessions. From the 15 treated by musical therapy children, one of them returned to his home; another began to sell papers and organized himself in his house made of cans with water and eletricity; and another one also began to deal with papers, cards, etc... The other children continue looking for a developing way through the existent social programs. Conclusion: Despite the qualitative aspect of this work, its data supported the observation of the improvement of life quality of these kinds from the musictherapeutic treatment. So, this study can be the first step to quantitify this data.

Authoress: Ana Maria Caramujo Pires de Campos Psychologist (1983) Specialist in Jungian Psychotherapy allied to Physical Approach (1993) Sedes Sapientiae. Specialist in Music Therapy (2002) - FPA. Specialist in Musical Education with Concentration in Music Therapy (2000) Faculdade de Musica Carlos Gomes. Member of UBAM 2002, 2003 and 2004. Participant of Accordions Tune Group. Address: Moxey Street, 438 Lapa So Paulo Postal Code 05068-010 Brazil Telephone/Fax: (11) 36116191 e-mail: anamariacaramujo@uol.com.br

163

The Power of Music in Learning


Gilda Waisburd - Ernesto Erdmenger Orellana
Resumen: Msico del Conservatorio Nacional de Msica de Mxico, pedagogo, orientador humanista y en materia de creatividad. As como msicoterapeuta, nacido en Guatemala y con experiencia en el campo educativo durante 25 aos. Autor del libro El poder de la msica en el aprendizaje y creador de la msica sobre meditacin. Descripcin: El objetivo del libro es darle a capacitadores, lideres, facilitadores de procesos empresariales, maestros generadores de aprendizajes y personas en general, la posibilidad de despertar sus capacidades como seres musicales. Sabemos que la msica se concibe como una herramienta que incrementa la sensibilidad, la memoria, la concentracin, y las habilidades para la lectura y la escritura. La msica ha sido una expresin constante en todas las culturas, tiene la virtud de contactar y transmitir emociones, motivar el movimiento corporal, mejorar la salud, incrementar la inteligencia y abrir la puerta a la creatividad. Por lo tanto proponemos desmitificar la creencia de que valorar la importancia de la msica es slo para quien la estudia y tiene talento o inteligencia musical; decimos que la msica es un arte que debe experimentarla el ser humano; al escucharla, sentirla, vivirla, gozarla, estudiarla y/o ejecutarla. La msica es sonido, el sonido es vibracin, la vibracin es energa y movimiento, la energa es silencio, la msica es, desde su naturaleza, una imagen que al reflexionar en ella nos conecta con el flujo interno de la vida, es un camino para el bienestar interior ya que refleja los movimientos internos y externos de nuestra vida. Es innegable que la msica provoca respuestas emocionales, en lo referente a la reaccin del cuerpo slo se puede especular, ya que cada uno absorbe, y recrea el sonido de forma personal. Los factores de la msica que se exploran en esta obra, son: ritmo, movimiento, audicin, sensibilizacin e introspeccin. En la redaccin de este libro se utiliza un lenguaje sencillo y fcil de comprender para aquellas personas que no han tenido contacto alguno con la msica. Contiene una primera parte terica y la segunda un men de ejercicios. Autor: Licenciado Ernesto Erdmenger Orellana Contacto: Ernesto Erdmenger Orellana. Florida 36, depto. 502, Colonia Noche Buena, Benito Jurez, C.P. 03720 Mxico, Distrito Federal. Tel. (52-55) 55632551 jeeo_mx@yahoo.com.mx Resea Curricular Estudiante de la especialidad de Musicoterapia en el Instituto Mexicano de Musicoterapia Humanista; autor del libro El Poder de la Msica en el Aprendizaje; Licenciado en Educacin, Escuela Benemrita para Maestros; Pianista profesional, Conservatorio Nacional de Msica, Mxico; profesor de msica en diplomados de creatividad, ICRET, Mxico; Orientador humanista y psicoterapeuta Gestalt (IHPG), Mxico. Synopsis: Musician at Mexicos National Music Conservatory, pedagogic, humanistic and creativity facilitator as well as musical therapist, born in Guatemala and with 25 years experience in education. Author of the book The Power of Music in Learning and creator of meditation music.

Description: The Power of Music in Learning Gilda Waisburd and Ernesto Erdmenger The purpose of the book is to provide trainers, leaders, business process facilitators, learning teachers and the general public with the chance to awaken their capabilities as musical beings. We know that music is perceived as a tool that increases sensibility, memory, 164 concentration and the abilities to read and write.

Music has been a constant expression in all cultures. It is able to contact and communicate emotions, motivates body movement, improves health and intelligence and opens the door to creativity. Therefore, we propose to refute the belief that the value of the importance of music is only for those who study it and have musical talent or intelligence; we claim that music is an art that must be experienced by human beings; while listening it, feeling it, living it, enjoying it and/or producing it Music is sound, the sound is vibration, the vibration is energy and movement, the energy is silence. Music is, by nature, an image that, when reflecting on it, it connects us with lifes internal flux. It is a way of internal wellbeing since it reflects our lifes internal and external movements. It is undeniable that music prompts emotional responses. Regarding the body, one can only speculate, since each person absorbs and recreates sound in a personal way. The music factors that are explored in this work are: rhythm, movement, audition, sensibility and introspection. This book has been written using a simple, easy to understand language for those who have never had any contact with music. It contains first a theoretical segment and a second one with a menu of exercises.

165

Music Therapy Education in Norway and its development during the last 30 years
Bente Almaas
ABSTRACT: Norwegian music therapy has since the early eighties made its way into many very different fields. For the educators, it has been important to take care of the identity of each student. The study focuses on the graduates as local resources in the community, and results in a wide spectre of different music therapists in Norway.

DESCRIPTION: Music Therapy Education in Norway and its development during the last 30 years This paper addresses Norwegian music therapy and the development of professional roles and educational programmes in this field during the period from 1980 up to the present date. What might distinguish Norwegian music therapy from other music therapy traditions is the variety of fields in which music therapy is applied, as well as the close connection between music therapists and Norwegian musical and cultural life in general. This can partly be seen as a result of a Norwegian law that guarantees all inhabitants access to music education and musical activities. Although Norway is a small country, music therapy has had very good conditions and has thus gone through an enormous development over the last 30 years. From being a profession mainly to be found in special schools and institutions, music therapy has made its way into different fields such as coaching rock bands in prisons and working in refugee camps in Lebanon. In the early 80ies, courses were given all over the country, aiming to educate teachers and health personnel to use music in their work with persons with special needs. These courses resulted in a rapidly growing interest in music therapy, which later led to a somewhat special structure of the Norwegian music therapy education; instead of one long educational run, the students are collected from widely different fields, and are presented to music therapy only as a master study. However, their bachelor degree has to contain the one-year unit called Music and Health. This study focuses on the graduates as local resources in the community; not only as therapists but just as much as cultural workers. As a result, graduating music therapy students are highly individual, each personality and musical profile being well catered for during their study. This, again, gives a wide spectre of different music therapists in Norway. Contact information and credentials: Bente Almaas Associate professor Norwegian Academy of Music PB 5190 Majorstua NO-0302 OSLO +47 91114172 bente.almaas@nmh.no

MINI BIOGRAPHY: Bente Almaas (Oslo, Norway) Associate Professor at the Norwegian Academy of Music (NMH) in music education and music therapy. Head of the Music & Health program at NMH.

166

Caricia de Tango: Las implicancias teraputicas del tango desde una perspectiva clnica multicultural.
Ronit Azoulay - Marcela Lichtensztejn - Kate Richards Geller
Abstract: Caricia de Tango: What happens when three music therapists meet to explore a musical tradition that is familiar to one and foreign to the others? What are the emotions, the metaphors, the nuances that live in the music and how this can impact their clinical choices in a multicultural workplace? Description: Caricia de Tango means the caress of tango, sensually touching and being touched by the passions of the traditional music of porteo. An ensemble of professional music therapists from different cultural backgrounds share their self-exploration of the elements of dos por cuatro (2x4) and discuss how this has impacted their clinical choices in a variety of therapeutic settings. Both didactic and experiential, this session will address the value of exploring the music of cultures other than our own and how the aesthetics of the music itself can transcend the barrier of an ethnocentric lens. Other topics of discussion include how professional development through learning and performing the music of Buenos Aires affects our clinical musicianship, how self-exploration is a powerful qualitative method of study, and the impact of performing tango music as Environmental Music Therapy for community outreach. The session will include live performance and an invitation to participate in the musical experience of traditional Argentine tango. The discussion will be influenced by multi-cultural, music-centered, and Jungian theoretical perspectives, among others. Also central to the thesis are the concepts of personal growth in service of professional development, music therapists as musicians, the transformative power of singing, and the phenomenon of transpersonal experience through engaging in diverse musical styles. Presenter name(s) and affiliation(s): Ronit Azoulay, MA, MT-BC, LCAT Marcela Lichtensztejn, MA, MT-BC, NRMT, LCAT Kate Richards Geller, MA, MT-BC, LCAT Contact information: Kate Richards Geller 112 Prince Street #3 New York NY 10012 singforyourself@yahoo.com Ronit Azoulay azoulaymt@gmail.com Marcela Lichtensztejn marli_ny@hotmail.com Mini biography of presenters: Pianist, Marcela, born and raised in Buenos Aires, brings tango to NYC where she currently lives and specializes in applications of the piano in diverse music therapy settings. Flutist, Ronit, an incurable New Yorker, brings a Sephardic and Ashkenazi heritage to the trio and to her work as a music therapist specializing in the use of wind instruments. Vocalist, Kates Irish and French roots can be heard in her singing. This transplanted New Yorker also works as a music therapist and offers therapeutic voice lessons

Ttulo de la presentacin: Caricia de Tango: Las implicancias teraputicas del tango desde una perspectiva clnica multicultural. Resumen: Caricia de Tango: Qu sucede cuando tres musicoterapeutas se encuentran para explorar una tradicin musical que es familiar a una de ellas y desconocida para las otras? Cules son las emociones, metforas, y matices que viven en la msica, y cmo esto puede impactar sus decisiones clnicas en un setting multicultural? Descripcin:
167

Caricia de Tango significa acariciar, tocar y ser tocado sensualmente por las pasiones de la msica tradicional del porteo. Este ensamble musical de profesionales musicoterapeutas que crecieron en diferentes contextos culturales, comparten sus propias exploraciones de los

elementos del dos por cuatro, y debaten sobre cmo esto ha tenido impacto sobre sus decisiones clnicas en una variedad de settings teraputicos. Didctica y vivencial, esta sesin abordar el valor de explorar msicas pertenecientes a culturas que no son la propia, y cmo los elementos estticos de la msica pueden trascender la barrera de la mirada etnocntrica. Otros temas de debate sern: cmo el desarrollo profesional a travs de aprender y ejecutar la msica de Buenos Aires, tiene efecto sobre la musicalidad clnica; cmo la propia exploracin es un mtodo de estudio cualitativo poderoso; y cul es el impacto de ejecutar tango en sesiones de Musicoterapia para el Ambiente en trabajo comunitario. La sesin incluir ejecucin en vivo y una invitacin a participar de la vivencia musical del tango tradicional Argentino. El debate estar influenciado por una perspectiva multicultural, musico-centrada y Jungiana entre otras. Adems, central a esta tesis son los conceptos de crecimiento personal al servicio del crecimiento profesional, musicoterapeutas en el rol de msicos, el poder transformativo del canto y el fenmeno de la experiencia transpersonal a travs de la exploracin de diversos estilos musicales.

168

Tratamientos para el Dolor: Aplicaciones de Musicoterapia Creativa y Musicopsicoterapia Mdica


Marcela Lichtensztejn
Pain Management: Creative Music Therapy and Medical Music Psychotherapy Interventions

Resmen: Espaol: La utilizacin clnica de la msica demuestra ser una intervencin efectiva para la reduccin del dolor y se ha convertido en un rea de inters en el campo de la medicina. Cul es el aporte de la Musicoterapia Creativa y la Musicopsicoterapia Mdica en tratamientos integrativos y complementarios para el dolor? English: The clinical use of music in pain management has become notable in the medical field and has been shown to be an effective intervention for pain in a variety of medical patients and clinical situations. Creative Music Therapy approach and Medical Music-Psychotherapy can offer an integrative and complementary treatment for pain.

Descripcin: (300 palabras mximo; con la informacin adecuada para que los revisores puedan evaluar la pertinencia de su contenido. Espaol: Factores psicolgicos y fisiolgicos interactan en la experiencia del dolor. La Asociacin Internacional para el Estudio del Dolor (IASP) lo define como una experiencia sensorial y emocional no placentera relacionada con dao potencial o real del tejido o descripta en trminos de tal dao. Esto indicara que el dolor es el nico signo vital que en la actualidad incluye el aspecto emocional de la vivencia en su definicin. Intervenciones clnicas musicales efectivas pueden actuar sobre dichos factores psicolgicos y fisiolgicos con una consecuente variacin en la duracin, intensidad y caracterstica de la experiencia del dolor. El presente trabajo incluye una revisin de tcnicas e intervenciones clnicas en el tratamiento de dolor crnico y agudo e incluir material clnico que ejemplificar intervenciones basadas en la Musicoterapia Creativa (Nordoff-Robbins Approach to Creative Music Therapy) y Musicopsicoterapia Mdica (Medical Music Psychotherapy - Dr. Joanne Loewy). English: Psychological and physiological factors interact in the pain experience. The International Association for Study of Pain (IASP) defines pain as an unpleasant sensory and emotional experience associated with actual or potential tissue damage, or described in terms of such damage. Pain seems to be the only vital sign that includes the emotional aspect of the experience in its definition. Clinical musical interventions can impact any or all of these factors, therefore will affect the duration, intensity and quality of that experience. This presentation will include a review of techniques and clinical interventions for chronic and acute pain from the Nordoff-Robbins Approach to Creative Music Therapy and Medical Music-Psychotherapy perspective (Dr. Joanne Loewy)

Nombre y datos del autor o autores:

Marcela Lichtensztejn, MA, MT-BC, NRMT, LCAT Contacto: Marcela Lichtensztejn 103-11 68th Drive 3D Forest Hills, NY 11375 USA 001-646-339-4567 marli_ny@hotmail.com Mini biography of presenters: Pianist, Marcela, born and raised in Buenos Aires, brings tango to NYC where she currently lives and specializes in applications of the piano in diverse music therapy settings. Flutist, Ronit, an incurable New Yorker, brings a Sephardic and Ashkenazi heritage to the trio and to her work as a music therapist 169 specializing in the use of wind instruments. Vocalist, Kates Irish and French roots can be heard in her singing. This transplanted New Yorker also works as a music therapist and

offers therapeutic voice lessons.

170

MUSICOTERAPIA EN EL CUIDADO DE LOS CUIDADORES - USO DE LAS TCNICAS GALLICCHIO


Maria Elena S.S. Gallicchio
Resumen: La musicoterapia con nios hospitalizados repercute ms all de su setting cuya expansin ocurre en el contacto con los Cuidadores, sean estos familiares, equipos de salud o de mantenimiento. Con la utilizacin de las tcnicas Gallicchio, se pretende demostrar la manera de acoger la demanda por Humanizacin en el hospital. Descripcin: La prioridad de atencin del Hospittal So Lucas-PUCRS es el nio, particularmente, los pacientes diagnosticados con cncer, con meses de vida hasta la edad de 16 aos. Las directrices del Hospital establecen que estos pacientes sean acompaados por un Cuidador. Al presentarnos al paciente, generalmente con el Cuidador, se hace el primer contacto, cuando les hablamos acerca de la Musicoterapia-MT, sus objetivos y dinmicas de tratamiento. Consideramos Cuidadores, a los familiares, profesionales de salud y de otras reas, como los encargados de mantenimiento y limpieza y todos aquellos envueltos en el proceso de cuidados con el otro sujeto durante la hospitalizacin. La Msica en MT es el principal terapeuta. Es en la Msica que ocurren las intervenciones necesarias a las transformaciones fsicas o de contenidos internos que emergen de una profunda esencia del placer. Placer y alegra estn vinculados a la pulsin de vida, independientes de edad, condicin social o gravedad de la enfermedad. De las tcnicas utilizadas en MT con los pacientes del HSL, establecemos como prioritarias, en los atendimientos individuales a los Cuidadores, las tcnicas de acceso al inconsciente y al imaginario. Se llaman Tcnicas Gallicchio desde su presentacin en el IV Frum de MT de la Asociacin Gaucha de Musicoterapia AGAMUSI-2007. La fundamentacin metodolgica, para su sistematizacin, tuvo como soporte conceptos de Helen Bonny e influencias de Mary Priestley. Es, tambin, de su base terica, la propuesta de MT centrada en la cultura, la cual entiende que a travs de la expansin del setting, se llega a contextos ms amplios del musicing. Adems, de las muchas culturas resulta una MT que, al expandir su setting, est prxima a las ms distintas y benficas repercusiones a la salud de todos los sistemas envueltos en el tratamiento de pacientes y de sus Cuidadores. Reportaremos, aqu, algunos casos clnicos. Contacto: Nombre: Maria Elena Gallicchio Direccin: Rua So Manoel, 1558 - apto. 202 90.620-110 Porto Alegre - RS Brasil Telfono: 55 -51- 3392 5027 Celular: 55 - 51- 9916 6955 Fax: 55 - 51- 3332 9531 Datos biogrficos de la autora: Presentaciones en Congresos Internacionales: Pedro y el Lobo Nios en Quimioterapia en el IX Congreso Mundial de Musicoterapia, Washington - 1999. Nio y Msica versus Cncer y Muerte en el 10 Congreso Mundial de Musicoterapia, Oxford -2002. MUSIC THERAPY IN THE CARE OF CAREGIVERS USE OF GALLICCHIO TECHNIQUES Mt. Maria Elena S.S, Gallicchio

Abstract: Music therapy with hospitalized children has repercussions beyond the music therapy setting whose expansion takes place upon the contact with the Caregivers, be them relatives, health or maintenance teams. The utilization of Gallicchio techniques intends demonstrating the way of welcoming the demand for Humanization in the hospital. Description: The priority of care at Hospital So Lucas-PUCRS is the child, mainly patients diagnosed with cancer, who are a few months old up to the age of 16. The Hospital guidelines foresee that these patients be attended by a Caregiver. Upon introducing ourselves to the patient, generally with the Caregiver, the first contact takes place when we talk to them about Music Therapy MT, its objectives and treatment dynamics. Caregivers are relatives, health professionals and professionals from other areas like maintenance and cleaning, i.e., workers who are involved in the care process of the hospitalized subject. Music in MT is the main therapist. It is upon Music that interventions needed for physical or inner transformations take place. They emerge 171 from a deep essence of pleasure. Pleasure and joy are connected with the pulse of life independent of age, social status or illness severity. Among the techniques utilized in MT with HSL patients, we have established as a priority upon the individual attendances to Caregivers, the

techniques of access to the unconsciousness and to the imaginary state. They are called Gallicchio Techniques since their presentation in the IV MT Forum of the Gaucha Association of Music Therapy AGAMUSI in 2007. The methodological foundation for the systematization of these new techniques had the support of concepts by Helen Bonny and influences from Mary Priestley. Its theoretical base has also inspired the MT proposal centered on culture which understands that, through the setting expansion, one reaches broader contexts of musicing. In addition, deriving from many cultures, the resulting MT expands its setting and becomes closer to the most different and beneficial repercussions for the health of all of those systems involved in the treatment of patients and of their Caregivers. In this paper, we will report a few clinical cases. Nombre y datos de la autora: Maria Elena S.S. Gallicchio Contacto: Nombre: Maria Elena Gallicchio Direccin: Rua So Manoel, 1558 - apto. 202 90.620-110 Porto Alegre - RS Brasil Telfono: 55 -51- 3392 5027 Celular: 55 - 51- 9916 6955 Fax: 55 - 51- 3332 9531

172

Acerca de Criterios de Indicacin en Musicoterapia


Nuria Marsimian -Mariana Nuzzi
Abstract de la presentacin: La investigacin Criterios de indicacin en Musicoterapia indaga acerca de la existencia e implementacin de Criterios de Indicacin en la practica musicoterapetica Argentina, partiendo de un anlisis exhaustivo de la bibliografa existente al respecto y de la tcnica del cuestionario para encuestar a musicoterapeutas argentinos en sus diversos mbitos de trabajo. Descripcin: La investigacin Criterios de Indicacin en Musicoterapia es el tema de nuestra Tesis de Licenciatura, de la Carrera de Musicoterapia en la Universidad del Salvador, Argentina, bajo la tutora del Lic. Diego Schapira. A partir de un anlisis exhaustivo de la bibliografa existente al respecto, y de una anlisis de la aplicacin de posibles criterios de indicacin en la prctica musicoterapetica argentina, se estableci un diseo de investigacin cualitativa para indagar acerca de la posible existencia de criterios de indicacin y, en caso de haberlos indagar sobre la homogeneidad o heterogeneidad de los mismos. Se establece una distincin entre conceptos tales como indicacin, assessment y derivacin. Se estableci la tcnica del cuestionario para comenzar a encuestar a los musicoterapeutas argentinos asistidos Primer Congreso Patagnico de Musicoterapia y Primer Encuentro del Mercosur, en el ao 2005, extendindose luego la investigacin hasta el ao 2007, encuestando a musicoterapeutas de todo el pas. Nombres de los presentadores: Lic. en Musicoterapia Nuria Marsimian (USAL) Lic. en Musicterapia Mariana Nuzzi (USAL) Contacto: Lic. Mariana Nuzzi Tel 011 47724085/ 1564072950 E- mail: mariananuzzi@yahoo.com.ar Direccin: Angel J. Carranza 2347, 3ero. 24. Capital Federal, Bs. As.

173

ESPECIALMENTE MUSICA - Las Artes en las Necesidades Educativas Especiales


PATRICIA ALEJANDRA PEREIRA - PEDRO JOSE BOLTRINO - MARCELA EGO - ADRIANA SILVIA SAMARUGA
Resumen Este trabajo constar de una exposicin terica y una parte prctica y tendr como finalidad mostrar los beneficios de la implementacion de diferentes lenguajes artsticos en el trabajo con personas con NEE Descripcin Como especialistas sabemos que alentando actividades que tengan como eje la msica , el teatro, la plstica o la danza lograremos promover la conciencia del arte a travs de los sentidos corporales, el desarrollo de la capacidad motriz y corporal, la liberacin de tensin, la capacidad de relajarse, la conciencia social: el individuo, el grupo, la memoria prxima y remota, la concentracin, la reaccin y adaptacin: instantneas o meditadas, el anlisis y la sntesis, la transposicin de los conocimientos adquiridos a otros contextos, la capacidad de adaptacin a las ideas de los dems, la capacidad de creacin de ideas a partir de las de los dems, la consolidacin del carcter individual que favorece la disciplina y la toma de decisiones, la capacidad de exponer claramente las ideas, el desarrollo de la audicin interna logrando seres que busquen como finalidad su propia evolucin. Expondremos el marco terico que avala nuestro quehacer y luego en dinmica de taller trabajaremos el abordaje en sujetos con NEE desde las diferentes especialidades. NOMBRE Y DATOS DEL AUTOR O LOS AUTORES PATRICIA ALEJANDRA PEREIRA Titulo de grado: Musicoterpeuta. Universidad del Salvador Capacitacion Docente ISFD 43.Lobos.Pcia de Buenos Aires Desempeo profesional: Escuelas Especiales de la provincia de Buenos Aires desde el ao 1990. Consultorio privado. Docente Terciaria Capacitadora en el proyecto Arte y Diversidad a cargo de la Direccin de Educacin Artstica de la provincia de Buenos Aires.desde el ao 2005

PEDRO JOSE BOLTRINO Lic. en Artes (UNSAM), Prof. de msica, 25 aos de antigedad en escuelas especiales autor de artculos y libros sobre la temtica.Consultor sobre necesidades educativas especiales de la Dir de Educacin Artstica de la Pvcia de Buenos Aires. Docente Terciario y Universitario. Prof. invitado de la Univ. de Guanajuato Mx, Expositor en el Congreso Pedaggico Cuba 2007, en el CLAM III , Santiago de Chile, Julio de 2007 y en distinto Congresos y Jornadas Nacionales e Internacionales.- Autor de libros y articulos.MARCELA EGO : Ttulos de Grado: Lic. En Artes UNSAM), Lic. En composicin coreogrfica (IUNA), Profesor universitario (IUNA), Tcnico en Gestin y Administracin Educativa (CENT4), Tcnico Superior en Integracin escolar con nios con NEE (SEDUCA). Prof. De danza (Escuela Nacional de Danza) Desempeo profesional: Directora de Relaciones Institucionales y de Cultura, y coordinadora de Seminarios de la Fundacin Artistas Discapacitados; profesor titular Escuela de Danza N2 Jorge Donn con nios con NEE; profesor Terciario en carrera de post titulo provincia de Buenos Aires. Capacitadora en proyectos dependiente de la Direccin de Educacin Artstica de la provincia de Buenos Aires, y de la Direccin de Cultura de la Prov. De Buenos Aires. Expositora en Congresos Internacionales (Univ. Del Sacro Cuore, Univ. De Jerusaln, Univ. De Salamanca) y Nacionales sobre la temtica del Arte y las personas con discapacidad.

ADRIANA SILVIA SAMARUGA Ttulos: Lic en Enseanza de las Artes UNSAM (elaboracin de tesis en curso) Preparacin del Actor y Prof. de Juego Dramtico (Esc. de Teatro La Plata) Prof. de Educacin Especial Prof. de Educacin Primaria Bsica. Desempeo profesional: Profesora de Teatro en Escuelas de Teatro, Ins. Sup. de Formacin Docente en Arte, Esc. de Educ. Especial y E. S.B. de la Pcia de Bs As. Capacitadora en las Jornadas: Arte y Discapacidad a cargo de la Direccin de Educacin Artstica de la Pcia de Bs As. Participacin en el Proyecto de Investigacin Las artes en la reforma educativa Academia Nacional de Educacin (2002 a 20004). CONTACTO: patriciapereira@fibertel.com.ar SPECIALLY MUSIC - THE ART IN SPECIAL NEED EDUCATION

SUMMARY This work consist in a theoric exposition and a practical part, and i4 have one finality: to show us the benefits to accomplish the differents 17t artistic languages in the work with persons who have special needs education.

DESCRIPTION Like specialists, we know that cheering activities with Music, Theatre, Plastic or Dance, we obtain the promotion of Arts conscience, trough the corporal sense and developing the moving capacity, the liberation of tension, the relax capacity, the social conscience, the memory (next and remote) the concentration, the reaction and adaptation instantaneous or meditated , the analysis and the synthesis, the knowledge transposition to other contexts, the capacity to create an idea, the consolidation to the individual character and the personal decisions, the capacity to expose clearly the ideas, the develop to the internal audition, looking for people who search the purpose of his own human evolution. We expose the theoric ideas to value our work and then we work the borded of subjects with special needs education from the differents artistics languages

175

Musicoterapia y Proyectos Preventivos en la Comunidad Educativa.


Gustavo Gauna
Resumen. El conocimiento que las instituciones educativas fueron teniendo del abordaje musicoteraputico en sus alumnos con problemas de conducta, fue llevando a que se solicitaran proyectos preventivos desde estas instituciones. Esta ponencia detalla una propuesta de cmo se est trabajando, desde principios preventivos en musicoterapia, con alumnos, docentes y padres de la comunidad educativa. Descripcin Es a partir del abordaje clnico en musicoterapia con nios y jvenes en edad escolar y del reconocimiento que las instituciones educativas fueron teniendo de los aportes de nuestra disciplina, que las mismas comenzaron a solicitar iniciativas desde la musicoterapia en relacin a las diferentes problemticas propias de las escuelas. Fue en estos ltimos aos - en ntima relacin con los movimientos culturales y mediticos -, que distintas demandas fueron recepcionadas y trabajadas desde la epistemologa, la teora y la clnica de la musicoterapia, en donde sobresale la valoracin de los docentes, de la funcin anticipatoria ( preventiva ) del arte y sus consecuencias diagnsticas y estratgicas para la comunidad educativa. Los objetivos de esta ponencia son; tanto describir los diferentes tipos de proyectos ya realizados, como delinear posibles acciones a futuro en el mbito de los proyectos preventivos en educacin. Con relacin a los proyectos ya realizados ( se detallarn los motivos de consulta, la demanda especfica, los objetivos planteados, las estrategias desarrolladas y las evaluaciones por parte de las instituciones educativas ), los describiremos en cinco reas, a saber: De los educandos y la institucin educativa. De la institucin y los padres. De la institucin y la comunidad. De la formacin y la capacitacin docente. De la resolucin de conflictos intra-escolares.

En todos los casos, conceptos desarrollados desde la musicoterapia como: Expresividad espontnea, Comunicacin sana, Aprendizajes con sentido disponible, Vnculo esttico en educacin, Dinmica del arte: salud personal y comunitaria; han sido ampliamente aceptados por los actores en educacin, como estimulantes para cambios, tanto en los aprendizajes en el aula, como en la salud en la institucin toda. Con relacin a posibles acciones futuras se perspectivas actuales en salud y educacin. detallarn las nuevas necesidades y demandas que las instituciones expresan -, en las

Tittle . Musictherapy and Preventive Projects in the Educational comunity. Summary. The knowledge that educational institutions were having about the musictherapeutic boarding in their pupils with behaviour problems, was taking to the request of preventive projects from institutions. This report details how its working actually from preventive principles in musictherapy with pupils, teachers, the educational institution and parents in the educational community. Description. Its since the clinic boarding in musictherapy with children and youngers in school age and the recognition that the educational institutions were having from the contributes of our discipline, that they began to request initiatives from the musictherapy in relation to different problems characteristic of the school. It was in the last year in intimate relation with cultural and mediatic movements- that different demands were received and worked from the epistemology, the theory and the clinic of the musictherapy, where the valuation stands out from the teachers, from the earlier function (preventive ) of art and its diagnostical and strategical consecuencies for the educational comunity. 176 The objectives of this report are: to describe the different types of already carried out projects and to delineate possible actions in the future

in the area of the preventive projects in Education . In relation to already carried out projects ( with detail the motives of consultation, the specific request, outlined objectives, developed strategies and evaluations from educational institutions ),well describe them in five areas, to know : About the pupils and the educational institution. About the institution and the parents. About the institution and the comunity. About the capacitation and the teacher formation . About the resolution of interschool conflicts .

In all cases, concepts developed from the Musictherapy such as : Spontaneous expression , Healthy communication , Learnings with available sense, Stetic bond in education, Dinamic of Art: personal and comunity health; have been broadly accepted by the actors of the education as stimulants for the change, so much from the instances of the learnings in the classroom, as from the health in all the that the institutions. In relation to future possible actions, it will be detailed the new necessities and demands that the institutions express in the actual perspectives in health and education . Nombre del autor. Gustavo Gauna. Licenciado en Musicoterapia. Mat. Prof. Cba. 7347. Contacto: Te: 03564-427926. Cel. 3564-575534. Email: gaunamt@uolsinectis.com.ar Datos Curriculares. Gustavo Dalmiro Gauna. Autor de Entre los sonidos y el silencio: musicoterapia en la infancia. y de Del arte ante la violencia. Ex- Director Licenciatura en Mta. UAI Rosario. Docente Titular Mta en Prevencin UAI. Bs. As. . Docente en educacin y Mta. en consultorio privado. Expositor de jornadas de musicoterapia y educacin en Argentina, EEUU, Espaa y Chile

177

Musical identity in patient with multiple sclerosis: a pilot study


Shirlene Vianna Moreira - Ceclia Cavalieri Frana - Marcos A. Moreira - Marco A. Lana Peixoto
Abstract: Music therapy is a strategy for integrating treatment in patients with multiple sclerosis and may offer a significant development of communicative performance and promote the self manifestation. The purpose of this study was to evaluate how patients with multiple sclerosis express their personal, social, temporal and transpersonal identities through music Description: The identity is the way the individual defines himself. Through memories, circumstances of life and plans for the future, the individual narrates a concept of self. The relationship between music and identity has become an important question for the field of music therapy. Music can strengthen people in their cultural context and create memories about significant events intensifying the potentiality for a therapeutic work, helping to construct the identity and contributing to the patients quality of life. The comprehension of the musical culture and of the meaning of music for the individual has been found to be essential for the therapist to establish the relationship with the patient. The purpose of this study is to evaluate how patients with multiple sclerosis express their personal, social, temporal and transpersonal identities through the music. Eight adult patients under treatment in the [Center of Investigation in Multiple Sclerosis] Centro de Investigao em Esclerose Mltipla (CIEM) UFMG were selected. The work has been characterized as descriptive using the qualitative method and its analyses were submitted to quantitative treatment. The patients were first considered through a music therapy evaluation protocol. After that, the patients were asked to select 10 to 15 significant musics in their lives. These musics were recorded on a CD. Based on this CD, the patients passed through an open interview that was recorded and later transcribed and analysed. The results revealed that this study enabled pacients to recall affective memories; a raise in their perception of their fellings e physhical sensations; a better understanding of themselves enabling higher selfconsciousness; helped them to express themselves in different ways; contextualizes times and places in which individuals placed theis memories; gave ris to a perception of the contituinity of life; showed the relevance of social relationships e the perception of cultural influence in their lives.

Presenter name(s) and affiliation(s): -Shirlene Vianna Moreira, master of music , music therapist and psychologist. Music therapy department coordinator at Centro de Investigao e Tratamento da Esclerose Mltipla (CIEM) at Hospital das Clnicas UFMG. -Ceclia Cavalieri Frana: PhD in Music Education University of London, Master of Arts in Education - University of London. Graduation in Piano UFMG -Marcos A. Moreira, neurologist, Centro de Investigao e Tratamento da Esclerose Mltipla (CIEM) at Hospital das Clnicas, UFMG. -Marco A. Lana Peixoto, neurologist, Centro de Investigao e Tratamento da Esclerose Mltipla (CIEM) at Hospital das Clnicas, UFMG.

Contact information: Name: Shirlene Vianna Moreira Address: Curitiba 2255/801, Belo Horizonte, Minas Gerais, Brasil. cep: 30170-122 Telephone: 31- 9205-1325 Fax:31- 3222-3935 Email: shirvianna@hotmail.com; shirvianna@uol.com.br

Ttulo del trabajo: Identidad Musical en pacientes con Esclerosis Mltiple: Un estudio piloto Resmen: Autobiografas musicales constituyen un recurso teraputico a respecto de como los individuos definen a si mismos. Pacientes bajo acompaamiento en el CIEM UFMG, seleccionaron entre diez y quince msicas significativas en sus vidas. Los datos fueron analizados y tienen como objetivo revelar como el individuo expresa sus identidades personal, social, temporal e transpersonal.

Descripcin La identidad es la manera como el individuo define a si mismo. A partir de memorias, circunstancias de vida y proyecciones para el futuro. El individuo narra un concepto de yo. La relacin entre la msic17y la identidad se volvi una cuestin importante para el campo de la a 8 musicoterapia. La msica puede fortalecer las personas dentro de su contexto cultural y crear recordaciones de eventos significativos intensificando el potencial para un trabajo teraputico, auxiliando la construccin de la identidad y contribuyendo para la calidad de vida del

paciente. La comprensin de la cultura musical individual y del significado de la msica para el individuo es esencial para el terapeuta establecer la relacin con el paciente. El objetivo de ese estudio es evaluar como pacientes con Esclerosis Mltiple expresan sus identidades personal, social, temporal y transpersonal a travs de la msica. Fueron seleccionados ocho pacientes adultos con Esclerosis Mltiple clnicamente definida bajo acompaamiento en el Centro de Investigacin en Esclerosis Mltiple (CIEM UFMG). El trabajo se caracteriz como descriptivo utilizando el mtodo cualitativo, cuyos anlisis fueron sometidas a un tratamiento cuantitativo. Los pacientes fueron inicialmente evaluados a partir de un protocolo de evaluacin en musicoterapia, a continuacin fue solicitado a los pacientes que seleccionasen diez o quince msicas significativas en sus vidas. Estas msicas fueron grabadas en un CD. Los resultados indicaron que este estudio posibilit a los pacientes la activacin de memorias afectivas; aumento en la percepcin de los sentimientos y sensaciones corporales, mejor comprensin de si mismo posibilitando mayor autoconciencia, ayud el individuo a expresarse de maneras distintas; contextualiz el lugar y la poca en los que el individuo se refera en sus recordaciones, posibilit una percepcin de continuidad de vida; demostr la relevancia de las relaciones sociales y la comprensin de la influencia cultural en la vida del ser humano.

179

Music therapy and Physiotherapy: An interdisciplinary approach on people with multiple sclerosis.
Shirlene Vianna Moreira - Natasha V. M. Faria - Ana Luiza.V. Nascimento - Carolina R. Arajo - Marco A. Lana Peixoto - Marcos A. Moreira
Abstract: The purpose of this study was to evaluate the interdisciplinary intervention of music therapy and physiotherapy on patients with multiple sclerosis. It was used a set of tests: functionality (MIF), balance, (BERG), walking (Timed 25-foot walk -25-FW), hands ability (box and blocks), mood (EAH), self-esteem (Rosenberg) and quality of life (FAMS). Description: Multiple sclerosis is a chronic, inflammatory and demyelinating condition of the central nervous system. (CNS). It may present multiple signs and symptoms which added to functional deficits result on impairment and deficiency progression, contributing to independence loss and restraining participation on social activities, being often responsible for the declining on quality of life of these people. In order to promote an appropriate care we focus on the strategies for rehabilitation and music therapy activities. The scientific validation of interdisciplinary rehabilitation strategies is important to widen the treatment possibility. The purpose of this study was to verify the impact of an interdisciplinary intervention involving music therapy and physiotherapy on rehabilitation of patient with multiple sclerosis, considering functioning, balance, walking, manual performing, mood, self-esteem and the quality of life. We selected 17 subjects with multiple sclerosis defined according to McDonald et al.s criteria (2001) being followed up at Centro de Investigao em Esclerose Mltipla (CIEM MINAS UFMG), according to inclusion and exclusion pre-set criteria. The evaluation and tests and scales were carried out at the beginning and at the end of treatment. Participants were set in two groups, so that the control group had only medical attendance at CIEM MINAS UFMG and the experiment group was submitted to interdisciplinary approach, involving music therapy and physiotherapy. Presenter name(s) and affiliation(s): -Shirlene Vianna Moreira, master of music , music therapist and psychologist. Music therapy department coordinator at Centro de Investigao e Tratamento da Esclerose Mltipla (CIEM) at Hospital das Clnicas, UFMG. - Natasha V. M. Faria, physiotherapist, Centro de Investigao e Tratamento da Esclerose Mltipla (CIEM) at Hospital das Clnicas, UFMG. - Ana Luiza.V. Nascimento, Centro de Investigao e Tratamento da Esclerose Mltipla (CIEM) at Hospital das Clnicas, UFMG. - Carolina R. Arajo, post-graduate medical student, Centro de Investigao e Tratamento da Esclerose Mltipla (CIEM) at Hospital das Clnicas UFMG. -Marco A. Lana Peixoto, neurologist, Centro de Investigao e Tratamento da Esclerose Mltipla (CIEM) at Hospital das Clnicas, UFMG. -Marcos A. Moreira, neurologist, Centro de Investigao e Tratamento da Esclerose Mltipla (CIEM) at Hospital das Clnicas, UFMG. Contact information: Name: Shirlene Vianna Moreira Address: Curitiba 2255/801, Belo Horizonte, Minas Gerais, Brasil. cep: 30170-122 Telephone: 31- 9205-1325 Fax:31- 3222-3935 Email: shirvianna@hotmail.com; shirvianna@uol.com.br

Musicoterapia y Fisioterapia: Un abordaje interdisciplinario en la rehabilitacin de personas con Esclerosis Mltiple Estudio Piloto

Resumen El objetivo del estudio piloto fue evaluar la intervencin interdisciplinaria de la musicoterapia y fisioterapia en pacientes con Esclerosis Mltiple. Se utiliz una gran cantidad de testes: funcionalidad (MIF), equilibrio (BERG), marcha (Timed 25-foot walk -25-FW), destreza manual (caja y bloques), humor (EAH), autoestima (Rosenberg) y calidad de vida (FAMS).

Descripcin La Esclerosis Mltiple es una condicin crnica, inflamatoria y desmielinizante del sistema nervioso central (SNC). Puede presentar una multiplicidad de seales y sntomas que aadidos a los dficites funcionales resultan en la progresin de los daos y deficiencias, contribuyendo con la prdida de la independencia y restringiendo la participacin en las actividades sociales. A menudo es responsable por el declinio de la calidad de vida de esas personas. Para promover un atendimiento adecuado, se evidenci las estrategias de rehabilitacin y actividades de musicoterapia. Las validaciones cientficas de estrategias de rehabilitacin interdisciplinarias son importantes para ampliar la posibilidad de tratamiento. Este estudio tuvo como objetivo verificar el impacto de una intervencin interdisciplinaria envolviendo musicoterapia y fisioterapia en la rehabilitacin del paciente con Esclerosis Mltiple, planteando la funcionalidad, el equilibrio, la marcha, la destreza manual, el humo0 la autoestima y la calidad de vida. Se eligi diecisiete personas con 18 r, Esclerosis Mltiple, definidas de acuerdo con los criterios de McDonald y Cols (2001) en acompaamiento en el Centro de Investigacin en Esclerosis Mltiple (CIEM MINAS UFMG), de acuerdo con los criterios de inclusin y exclusin preestablecidos. Las evaluaciones y

las aplicaciones de testes y escalas se realizaron en el inicio y al final del tratamiento. Los participantes fueron separados en dos grupos, una vez que el grupo control realiz solamente el acompaamiento mdico en el CIEM MINAS UFMG y el grupo experimental fue sometido al abordaje interdisciplinario, envolviendo musicoterapia y fisioterapia.

181

Sistematizacin de la interaccin vocal en musicoterapia. Posibles aportes a la musicoterapia en Argentina.


Mercedes Goyheneix - Florencia Grasselli
Resumen: Esta investigacin propone sistematizar la informacin en donde se exponga el uso de la voz como interaccin musicoteraputica a travs del anlisis de los abordajes de Diane Austin y Lisa Sokolov, quienes presentan fundamentos tericos especficos frente a las prcticas de improvisacin vocal. La intencin es ampliar los conocimientos en la comunidad musicoterapeutica acerca del uso que se le puede dar a la voz como recurso en musicoterapia Descripcin: Esta investigacin se propone profundizar acerca de los abordajes musicoterapeuticos de Diane Austin y Lisa Sokolov, en donde la voz y la improvisacin son los medios principales de expresin. Mediante la presente investigacin, sistematizamos la informacin dando cuenta de las diferentes categoras que consideramos fundamentan la prctica teraputica. Se da cuenta de la historia biogrfica de las autoras, el marco terico al que pertenecen, la teora especfica que fundamenta su accionar, se explicita una gnoseologa teraputica, se da cuenta de una concepcin particular de encuadre, se especifican poblaciones con las que se implementa el trabajo as como el cambio de objetivos y metas que estos requieren. Se transmite las formas y criterios que se utilizan en relacin a la seleccin de los clientes, se informa acerca de los medios, los roles y las tcnicas propias que se utilizan, se da cuenta de las dinmicas que se pueden generar as como la funcin de los elementos musicales en las mismas. Se informa acerca de los procedimientos de evaluacin en el inicio del tratamiento y del diseo del mismo. Realizamos esta investigacin con la intencin de que esta investigacin puede realizar un aporte a la comunidad de musicoteraputas Argentinos por exponer y presentar la temtica de forma tan sistematizada. Creemos que es necesario destacar la necesidad de poder reflexionar sobre la importancia de la sistematizacin en cuanto a los fundamentos tericos que sostienen las experiencias musicales en la improvisacin vocal.

Nombre y datos de autores: Mercedes Goyheneix Licenciada en musicoterapia, egresada de la Facultad de Medicina de la Universidad del Salvador (USAL) Concurrente de musicoterapia en el Hospital B. Rivadavia de la ciudad autnoma de Buenos Aires. Realiza estudios en el programa ADIM (Asistencia, Desarrollo e investigacin en Musicoterapia). Florencia Grasselli Licenciada en musicoterapia, egresada de la Facultad de Medicina de la Universidad del Salvador (USAL) Concurrente de musicoterapia en el Hospital B. Rivadavia de la ciudad autnoma de Buenos Aires. Realiza estudios en el programa ADIM (Asistencia, Desarrollo e investigacin en Musicoterapia).

Contacto: Mercedes Goyheneix Hudson 666 San Isidro (1642) Bs.As., Argentina, Tel: 4723-4693 / 1555126794 e-mail: mercedesgoyheneix@hotmail.com

Work Title: Systematization of the vocal interaction in music therapy. Possible contributions to the music therapy in Argentina.
182

Absract:

This research seeks to systematize information referred to the use of voice in music therapy interactions, by the analisis of Diane Austin and Lisa Sokolov approaches. Both approaches involve specific theorical fundaments to the use of vocal improvisation practices. The main objective is to increase knowledge in the music therapy community about the use that can be given to the voice as a resource in music therapy. Description: The purpose of this research is to deepen Diane Austin and Lisa Sokolov`s approaches, in which the voice and improvisation are the principal means of expression. Through this research, information was systematized in different categories based on therapeutic practices .This categories are: the biographical history of the authors, theoretical framework of the therapist, theoretical concepts of their practices, assessment, populations with which they implement their work, as well as their objectives and goals. We identify forms and criteria used in relation to the selection of clients and on the media, roles and techniques that are used, and we aware the dynamics that can be generated as well as the role of the musical elements in them. Reports on the evaluation procedures at the beginning of treatment and its design are also included. We conducted this investigation with the intention that this research can make a contribution to the Argentinean music therapy community. We believe our thesis is clear and systematic. We emphasize this because we believe we need to think about the importance of a systematic work in relation to the theoretical foundations that underpin the musical experiences in vocal improvisation.

Author name and data: Mercedes Goyheneix Bachelor in music therapy, graduate of the Faculty of Medicine, University of Salvador (USAL) Music therapy concurrent at the B. Rivadavia hospital of the Autonomous City of Buenos Aires. Studied at ADIM program (Assistance, Development and Research Music therapy). Music therapy scholarshipat at FLENI.

Florencia Grasselli Bachelor in music therapy, a graduate of the Faculty of Medicine, University of Salvador (USAL) Studied at ADIM program (Assistance, Development and Research Music therapy). College Assistant to MT Diego Schapira at San Salvador University Contact: Mercedes Goyheneix Hudson 666 San Isidro (1642) Buenos Aires, Argentina, Tel: (005411)4723-4693 / 1555126794 E-mail: mercedesgoyheneix@hotmail.com

183

Synchronizattion - a relevant theme viewed from differnt perspectives (Discussion in Spanish and Portuguese with Sidely de Lucca, Berlin/ Brazil)
Karin Schumacher - Claudine Calvet
ABSTRACT The film: In Search of Shared Time shows the analysis of intra- and inter-synchronous moments, this means the Attunement of temporal structures in the body and the temporal and affective attunement between two people. The synchronous moment is considered not only in the work with children on the autistic spectrum as especially helpful in promoting relationships, but can also be observed as a phenomenon in early childhood. In this presentation ideas for graphic notation as well as the relationship to the work of the classical musician are demonstrated. Description Excerpts from the 5 chapters of a recently produced DVD give insights to the practice and research of music therapy with children with autism. The music therapist Karin Schumacher and the developmental psychologist Claudine Calvet demonstrate in the film: In Search of Shared Time that the experience of synchronization promotes relationships and therefore plays a role in encouraging development. Videos of longterm therapy with 5 children who suffer from severe developmental disorders (autistic spectrum) were micro-analysed with regard to the development and effect of synchronous moments. Excerpts from the main film: In Search of Shared Time demonstrate intraand inter-synchronous moments. The attunement of temporal structures in the body and the temporal and affective structures between two people are demonstrated graphically by means of a chosen scene from the main film. The musician Manfred Hneke demonstrates inter-synchronous moments of the scene with the help of graphic notation; the dance therapist Petra Kugel uses the Laban Motif Notation to analyse the same scene. Developmental psychological as well as findings from infant, attachment and brain research are shown and explained in the short film : Synchronous Moments In early Childhood. The film: Synchronous Moments in Music shows excerpts from rehearsals and performances of Herbert von Karajan, who would have been 100 years old this year. This project shows the result of a research commission given by the Karajan Centre Vienna/Salzburg in the year 2000 to the research team KS and CC. All film are shown in English. The text of the main film: In Search of Shared Time are presented as a handout in Spanish and Portugese. The Spanish and Portugese speaking music therapist Sidely de Lucca, Berlin/ Brazil will be present for the discussion. The Authors Dr. Karin Schumacher is professor for music therapy at the University of the Arts Berlin and lecturer at the University for Music and the Performing Arts in Vienna. She also runs her own practice as a music therapist and psychotherapist for children and adolescents. Claudine Calvet is a psychologist and runs her own psychotherapy practice. She is also an assistant lecturer at the University of the Arts Berlin. Contact information Prof. Dr. Karin Schumacher address: Schorlemerallee 36 14195 Berlin Germany telephone: 0049 179 / 74 86 927 email: schumaka@gmx.de

Sincronizacin Un Tema significativo visto desde diferentes perspectivas (discusin en espanol y portugus con Sidely de Lucca, Berlin/Brasil)

RESUMEN /Versin en espa~nol El film En bsqueda de un tiempo comn muestra el anlisis de momentos intra e intersincrnicos o sea la sincronizacin de las estructuras corporales (intrasincronizacin) y la sincrona temporal y afectiva entre dos personas (intersincronizacin). Los momentos sincrnicos son considerados como promotores 184 las relaciones interpersonales, no slo en el trabajo con ni~nos del de espectro autista, sino que tambin se observan como fenmeno normal en la primera infancia. En esta presentacin se hacen adems sugerencias de notacin grfica y se establecen relaciones con el trabajo del msico clsico.

DESCRIPCIN Partes de los 5 captulos del DVD En bsqueda de un tiempo comn, recientemente producido, dan aportes al trabajo prctico y a la investigacin musicoteraputica en ni~nos con autismo. La musicoteraputa KS y la sicloga de desarrollo CC demuestran en este film que el experimentar momentos de sincronizacin promueve relaciones y por ello juega un papel importante como estmulo del desarrollo. En este trabajo, videos de terapias a largo plazo con 5 ni~nos que sufren severos desrdenes del desarrollo (espectro autista) se microanalizaron con nfasis en el desarrollo y efecto de momentos sincrnicos. Partes del film original En bsqueda de un tiempo comn, muestran el anlisis de momentos intra e intersincrnicos. La sincronizacin de las estructuras temporales del cuerpo entre s y la sincronizacin temporal y afectiva entre dos personas, son demostradas grficamente en una escena que fu seleccionada del film original. El msico MH representa momentos intersincrnicos con ayuda de notacin grfica; la teraputa de danza PK utiliza la notacin Laban Motif para analizar momentos intra e intersincrnicos de la misma escena. Aspectos de psicologa del desarrollo, as como resultados de investigacin en el lactante, sus relaciones (Bonding) e investigacin cerebral, se muestran y explican en el film corto Momentos sincrnicos en la primera infancia. El film Momentos sincrnicos en la msica muestra partes de ensayos y presentaciones de Herbert von Karajan, quien este a~nio habra cumplido sus 100 a~nios. Este proyecto presenta el resultado de una comisin investigativa asignada por el centro Karajan de Viena/Salzburgo al equipo investigativo KS y CC en el anio 2000. Todos los films sern presentados en ingls. El texto del film original En bsqueda de un tiempo comn se presentar por escrito en espa~nol y portugus. La musicoteraputa Sidely de Lucca (Berlin/Brasil) estar presente, a disposicin para la discusin en espa~nol y portugus.

185

Msica, Sentido y Musicoterapia, a la luz del Modelo Tripartito Molino/Nattiez.


Lia Rejane Mendes Barcellos
RESUMEN Esta presentacin busca explorar la cuestin del sentido musical, en musicoterapia, que puede ser atribuido por el paciente y (re) construido por el musicoterapeuta en la Musicoterapia Activa o Interactiva como prefiero denominar, para inserir el musicoterapeuta interactuando musicalmente con el paciente , utilizando el Modelo Tripartito Molino/Nattiez como la principal referencia terica. DESCRIPCIN La cuestin del sentido, en msica/musicoterapia, viene siendo poco discutida por los musicoterapeutas. Aqu se busca presentar el tema en relacin a la Musicoterapia (Inter)activa, teniendo como referencia terica principal el Modelo Tripartito Molino/Nattiez. Jean Molino enfoca la cuestin del sentido en la msica, afirmando que no existe "la msica", sino un hecho musical que l considera partiendo del concepto de hecho social total, acuado por Marcel Mauss, o sea, "que mobiliza, en ciertos casos, la totalidad de la sociedad y de sus instituciones". La msica, como la religin y el lenguaje, obliga a un anlisis tripartito de su existencia: el hecho en s y los procesos de produccin y recepcin, respectivamente poiesis y estesis. El resultado de esta produccin, denominado nivel neutro por Molino, puede ser un enunciado lingstico, una obra de arte, un gesto esttico o una accin social, y tiene una realidad material, constituyndose como un vestigio o una forma simblica, en la medida en que puede ser portadora de significaciones para quin los produce y los percibe/recibe. Transponindose este Modelo para la musicoterapia a partir de la forma como autores como Jos Bowen y John Rink, de la musicologa contempornea, consideran el performer , el paciente puede ser considerado como el narrador musical de su historia, o el autor de una produccin, que dejar un vestigio, a travs del cual un sentido puede ser vehiculado. Este vestigio tiene una naturaleza polisemica. As, muchos pueden ser los sentidos percibidos por el receptor musicoterapeuta, que construir uno, de entre los sentidos posibles, a partir de un anlisis del vestigio, considerando tanto los procesos de produccin (del paciente), como los de recepcin (del musicoterapeuta). Esto corresponde al concepto de Anlisis Musicoterapica de Barcellos, que propone el anlisis del vestigio dejado por el paciente, considerando sus historias: de vida incluyendo el contexto sociocultural; de la patologa; sonoro/musical, y la situacin; e incluyendo la escucha del musicoterapeuta.

Lia Rejane Mendes Barcellos Conservatrio Brasileiro de Msica. Rio de Janeiro. Brasil. Recibida en Piano y Musicoterapia. Maestra en Musicologia y realizando Doctorado en Msica. Profesora de Musicoterapia en cursos a nivel de Graduacin y Pos-graduacin. Musicoterapeuta Clnica. Artculos publicados en: Brasil, Argentina, Francia, Espaa, Alemania, Estados Unidos y Noruega. Editora del Voices para Amrica del Sur. Autora de libros sobre musicoterapia. Direccin: Rua Guilhermina Guinle, 74 apto. 1402. 22270-060. Rio de Janeiro. RJ. Brasil. liarejane@gmail.com Music, Meaning, and Music Therapy under the light of the Molino/Nattiez Tripartite Model

Lia Rejane Mendes Barcellos ABSTRACT This presentation intends to explore the issue of musical meaning in music therapy, which can be attributed by the patient and (re)built by the music therapist within the Active Music Therapy area, or Interactive, as I prefer to name it myself, so as to insert clearly the music therapist's musical interacting with the patient , through the employment of the Molino/Nattiez Tripartite Model as its main theoretical influence. SYNOPSIS The question of meaning in music therapy has been the object of little debate among music therapists. We herein intend to present this theme as related to the (Inter)Active Music Therapy, adopting as main theoretical reference the Molino/Nattiez Tripartite Model. Jean Molino approaches the issue of meaning in music stating there is not the music, but the musical fact, that he conceives after the whole social fact concept, a term coined by Marcel Mauss and defined as something "that mobilizes, in certain cases, the wholeness of society and all of its institutions." Music, like religion and language, prods us into a tripartite analysis of its existence: The fact in itself and the processes of its production and its reception, respectively poiesis and estesis. The result of this production, named neutral level by Molino, may be expressed by means of a linguistical statement, a work of art, an esthetic gesture, or a social action and owns a material reality in that it presents itself as a trace of a symbolical shape, as much as it can be the bearer of some sort of significations for he/she who produces them and he/she who perceives/receives. Transposing this model to music therapy -- as related to the way some authors of contemporary musicology consider the performer --, the patient c186 be faced as the musical narrator? of his/her own story or the author of an some production bound to leave a trace, by means of which a meaning might be conveyed. This trace will bear a polysemic nature. Thusly, many can be those meanings [senses] that are perceived by the receptor -- the music therapist --, who will build a single one from among all

possible meanings, as s(he) departs from the trace analysis, all the while taking into consideration both the production processes (the patient's) and the reception ones (the music therapist's). This corresponds to Barcellos's Music Therapeutical Analysis concept, that proposes the analysis of said trace the patient left behind, all the while taking into consideration his/her life story -- spanning his/her own social/cultural, pathological, sonorous/musical and situational contexts and also including the listening by the music therapist. Presentation in Spanish and English. Lia Rejane Mendes Barcellos Conservatrio Brasileiro de Msica [Brazilian Conservatory of Music], Rio de Janeiro. Brasil. Graduated in Piano and Music Therapy. M. Sc. on Musicology and reading for her Doctorate in Music. Music Therapy Professor on Graduate and Postgraduate Courses. Clinical Music Therapist. Books and papers published in Brazil, Argentine, France, Spain, Germany, United States and Norway. Voices Editor for South America.

187

Considering boundaries: Music therapy groupwork in schools.


Emma Pethybridge
Abstract: The Youth Music Initiative in East Lothian currently funds projects to integrate music therapy group work in schools in new and innovative ways. This paper will review boundaries of music therapy group work from a dual perspective of health and a national framework promoting participation and engagement in musical activities. Description: This paper will use a practice-based approach to look at boundaries between therapy and musical activities in education. It will particularly explore the identities of music therapy group work in schools using case studies, service evaluations and data from review with professionals. It will examine projects undertaken in mainstream primary schools in East Lothian for children for whom the school identified needs in the areas of communication and language, personal and social development and emotional well-being. The work is set within a context of inclusion in education and will look at the role of music therapy with children with additional support needs attending mainstream school provisions. The literature on music therapy and music education group work with children in school settings will be reviewed to identify theoretical and practical aspects of integrating music therapy within an educational setting. Particular emphasis given to the meta-theoretical concept of Educational Music Therapy (Robertson 2000, 2006) and the collaboration between health and educational professionals promoted by the Additional Support for Learning Act, Scotland (2004). One of the main challenges since the project began has been looking at how to integrate music therapy group work within the Youth Music Initiative national framework. In order to create a dialogue with other professionals a DVD has been collated from projects with five different groups. Parts of the DVD will be shown and comments made by other professionals in sharing sessions discussed. This dialogue and clinical evaluation of the projects will be used to highlight further areas for development and research. Name and affiliations: Emma Pethybridge, NHS Lothian Childrens Music Therapy Service. The service is currently a partnership with East Lothian Council and the Youth Music Initiative (Scottish Arts Council). Contact Information: Emma Pethybridge 5/16 Edina Place Edinburgh EH7 5RN Scotland 00 44 131 466 8487 emypee@googlemail.com Biography: Emma Pethybridge has worked in the Childrens Music Therapy Service in East Lothian since graduating with a Postgraduate Diploma in Music Therapy (Nordoff-Robbins) from the University of Edinburgh in 2004.

Ttulo del trabajo: Pensando en los lmites: Musicoterapia de grupo en las escuelas. Resumen: El Youth Music Initiative (Escocia) financia proyectos que intentan integrar, de maneras innovadas, la musicoterapia de grupo en escuelas. Esta presentacin analizar los lmites de la musicoterapia de grupo desde una doble perspectiva del salud y un marco nacional que promueve la participacin en las actividades musicales dentro de las escuelas. Descripcin: Este trabajo reflexiona, desde el enfoque de la prctica, acerca de los lmites entre la musicoterapia de grupo y las actividades musicales estndares en la educacin. Se considerar, en particular, la importancia de la musicoterapia de grupo en las escuelas a travs de estudios de casos, evaluacin del servicio, y datos recogidos en un encuentro con profesionales. Se analizarn proyectos que se hicieron en escuelas en East Lothian con nios para quienes los profesores hubieron identificado carencias en comunicacin y lenguaje, el desarrollo personal y social, y el bienestar emocional. El trabajo se encuadra en un contexto de integracin en la educacin y hace 188 hincapi en el papel que desempea la musicoterapia de grupo con los nios en las escuelas ordinarias.

Se har la presentacin de una crtica de literatura que trata acerca de la musicoterapia de grupo y la educacin musical en las escuelas para identificar aspectos tericos y prcticos de la integracin de la musicoterapia en un ambiente educativo. Se pondr nfasis en el concepto meta-terico de la musicoterapia-educativa (Robertson 2000, 2006) y en la colaboracin entre los profesionales que trabajan en la salud y los que trabajan en la educacin que promueve el decreto del apoyo suplementario de aprendizaje, Additional Support for Learning Act, Scotland (2004). Desde que empez el proyecto uno de los mayores desafos ha sido integrar la musicoterapia de grupo en el marco nacional del Youth Music Initiative. Para crear un dilogo con otros profesionales se ha anexado un DVD de proyectos con cinco grupos distintos. La presentacin utilizar partes de este DVD y tambin se tendrn en cuenta observaciones de diferentes profesionales surgidas de talleres en los que han existido posibilidades de discutir el trabajo. El dilogo y la evaluacin de estos proyectos podr crear futuras vas y posibilidades de investigacin y desarrollo.

Nombre y datos del autor: Emma Pethybridge, NHS Lothian Childrens Music Therapy Service. En este proyecto el Servicio Nacional de Salud se asocia con la junta de East Lothian y Youth Music Initiative (Scottish Arts Council). Contacto: Emma Pethybridge 5/16 Edina Place Edinburgh EH7 5RN Scotland 00 44 131 466 8487 emypee@googlemail.com

189

Voices: A World Forum for Music Therapy Access, Dialogue, and Critique
Lia Rejane Mendes Barcellos - Joke Bradt - Jane Edwards - Michele Forinash - Sarah Hoskyns - Carolyn Kenny - Katrina McFerran - Daphne Rickson - Rune Rolvsjord - Diego Schapira - Brynjulf Stige - Guylaine
Abstract: This roundtable will explore the important issue of International communication, open access, dialogue across disciplines, and the nurturing of an inclusive international profile of Music Therapy. Examples from the free online international publication Voices: A World Forum for Music Therapy will serve as the context. Description: In a postmodern, global society our notions of communication must expand and continue to become more and more inclusive. Opportunities to share ideas across continents and disciplines increases and will benefit efforts not only to expand the important practices of Music Therapy and music healing, but also serve to encourage cooperation, discussion, dialogue and cooperation across and between cultures. Since 2001 Voices: A World Forum for Music Therapy has taken action to expand the range of possibilities for communication internationally. Voices vision is to support the discursive practices of Music Therapists and other health and healing practitioners who use music around the world by producing a free first class online international forum. A group of over twenty prestigious Music Therapists volunteer their time to create this forum which includes an international journal of three main issues each year; news about countries developing important initiatives around the world; editorial columns; notification of important events related to Music Therapy; and two discussion forums. Voices publishes in multiple languages. In this roundtable, 13 of these editors will discuss the significance of their work with Voices for education, communication, dialogues in this global enterprise as well as their continuing vision for the role of open access forums in the advancement of knowledge. They will compare and contrast the discussions that are happening in their regions and how these can be shared internationally through an open access medium like Voices. Voices is an online community that grows each year to include more and more people and countries. Participants will discuss the nature of this community and how it can influence professional, cultural, social, and political developments as well as improve our service to patients and clients, our research, and our Music Therapy education and training. Carolyn Kenny, PhD, MTA, MT-BC Professor of Human Development and Indigenous Studies Antioch University Ph.D. in Leadership and Change Co-editor-in-Chief Voices: A World Forum for Music Therapy ckenny@phd.antioch.edu

Mini Biographies of Presenters: Lia Rejane Mendes Barcellos (Voices South American Editor) is Coordinator of the Music Therapy Post-graduate Program at Brazilian Conservatory of Music in Rio de Janeiro University Center; Music Therapy Professor in the undergraduate and post-graduate Music Therapy Programs and Coordinator of the Social Music Therapy Clinic Ronaldo Millecco. Joke Bradt, PhD, MT-BC (Voices Moderated Discussion Co-editor) is the Assistant Director of the Arts and Quality of Life Research Center (Temple University). Her interests are improvisation methods for pain management and medical music therapy research. Music Therapy Association. She has broad clinical, research, and writing interests. Jane Edwards (Voices European Editor) is an Associate Professor at the Irish World Academy of Music and Dance where she directs the two year MA in Music Therapy program. She is an experienced clinician and researcher and has published on a range of topics including music therapy for children in hospitals; music therapy research; music therapy and parent-infant programs, and using feminist theories to think about music therapy. Michele Forinash, DA, MT-BC, LMHC (Voices North American Co-editor) is professor, coordinator of the PhD program, and coordinator of the music therapy specialization in the Division of Expressive Therapies at Lesley University in Cambridge, Massachusetts. She is a past president of the American Music Therapy Association. Sarah Hoskyns (Voices Country-of-the-Month Co-editor) is Associate Professor and Director of the Master of Music Therapy Program at the New Zealand School of Music. Current research interests include inquiry based learning in music therapy research and practice and working cross-culturally in practice and research. Other research experience includes projects in group music therapy with adult offenders and on co-mentoring in music therapy teaching Carolyn Kenny, Ph.D., MTA, MT-BC (Voices Co-editor-in-Chief) is a Professor of Human Development and Indigenous Studies in the Antioch University Ph.D. in Leadership and Change. Her publications and presentations include Music Therapy theory and Indigenous 190 Studies. Katrina McFerran (Voices Australasian Co-editor). She has worked clinically with young people in special school, hospital, community

mental health, substance misuse and palliative care settings. She has also conducted a number of research projects with this group, examining the relationship between music preferences and mental health, as well as exploratory and efficacy oriented studies of music therapy. Daphne Rickson (Voices Australasian Co-editor) is a Lecturer on the Master of Music Therapy programme at the New Zealand School of Music. She has maintained close links with national and international music therapy communities, was a member of the International Scientific Committee for two consecutive World Congresss of Music Therapy (2002, 2005. She is currently President of the New Zealand Society for Music Therapy. Rune Rolvsjord, cand. mag. (Voices Managing Editor) is also Production Editor of Nordic Journal of Music Therapy His ongoing academic studies are in Intellectual History, History and Art History. Diego Schapira, Ph.D., Licensure in Music Therapy (Voices Events Editor) is a Professor in Music Therapy Programs of the University of Buenos Aires and University of Salvador, Argentina and Professor of the Music Therapy Masters Degree at the University of La Habana (Cuba). He also serves as Director of Post Degree Course on Plurimodal Approach in Music Therapy (UBA). Brynjulf Stige PhD (Voices Co-editor-in-Chief) is a Professor in Music Therapy at the University of Bergen and Head of Research at The Grieg Academy Music Therapy Research Centre Stige has published extensively on topics such as music education, music therapy improvisation, culture-centered music therapy, and community music therapy. Guylaine Vaillancourt, MA, MTA (Voices North American Co-editor She is presently an adjunct teacher at Universit du Qubec Montral, the president of the Association qubcoise de musicothrapie and is doing doctoral studies at Antioch University in Leadership and Change. Barbara Wheeler Ph.D., MT-BC, (Voices Interview Co-editor) is a Professor and Director of Music Therapy at the University of Louisville and President of the American Music Therapy Association. She has published and presented extensively around the world on both clinical practice and research.

191

Through Musical Socratic Dialogue to Self-Transcendence in Music: Logotherapeutic Approach to Clinical Improvisation
Elzbieta Masiak
A travs del dilogo de Socrates hacia la autotranscendencia musical:Las tcnicas logoteraputicas en la improvisacin clnica. Abstract: (50 words maximum; appropriate for inclusion in conference program booklet) Must be written in Spanish or English. The paper presents applications of Logotherapy, an existential, meaning-centered approach to psychotherapy to music-centered, improvisational music therapy. The author working in adult psychiatry presents a three-step approach to clinical creative group comusicking, containing both elements of music-centered and logotherapeutic techniques. Musical examples will be presented. El artculo plantea el empleo de la tcnicas de logoterapia, un curso exsistencial de la psicoterapia, orientado a la bsqueda del sentido y la cualidad en la musicocntrica musicoterapia improvisada. La autora, basndose en su prctica clnica en la psiquiatria de los adultos, presenta un modelo de tres niveles de un creativo tocar msica en grupo, que contiene los elementos tanto de tcnicas musicocntricas como logoteraputicas. Se presentarn los ejemplos musicales. Description: 300 words maximum; providing sufficient information concerning the proposal for the reviewers to evaluate its suitability for this conference. Frankls Logotherapy / Existential Analysis, a meaning-centered approach to psychotherapy is based on the holistic, three-dimensional concept of person, and on the belief in the human capacity for self-transcendence and self-detachment. This philosophicalanthropological perspective implicates the way therapy is conducted, the role and position of the therapist, and therapist-client relationship. The author working in adult psychiatry presents possibilities of realization of logotherapeutic assumptions and goals through purely musical interaction, untranslatable into verbal categories. Music therapy process, focused on creative, improvisational group co-musicking is based on the author's three-step model, containing both elements of music-centered and logotherapeutic techniques: 1. The journey from chaos to meeting in music. At this level, therapist's playing is usually highly structured and predictable until the moment of active clients' interresponsiveness. One of the main strategies is moulding and re-moulding. 2. Musical Socratic dialogue. Gaining a sense of security in the musical environment, the clients are provoked to search for their own musical meaning. At this level therapist uses more space, elements of musical unpredictability, which are the challenge for the clients to find their own musical answers in their own musical language. 3. Musical self-transcendence. Expression of individual creativity appropriately based on the context, build on mutual listening and active musical communication. Musical examples of the specific levels of the model will be presented. La logoterapia / anlisis existencial curso de psicoterapia existencial introducido por V. Frankl, orientado a la bsqueda del sentido y la cualidad, basado en una holstica, tridimensional idea de la persona y tambin en la seguridad en la habilidad de hombre para una autodistancia y autotranscendencia. Esta filosfico-antropolgica perspectiva implica directamente La parte tcnica del proceso terapetica, la idea del papel y la posicin del terapeuta y la forma de construir relaciones teraputicas con el cliente. La autora, basndose en su prctica clnica en la psiquiatria de los adultos, plantea las posibilidades de la realizacin de las ideas y objetivos propios para la logoterapia a travs de la relacin teraputica basada en una pura interaccin musical que no se puede traducir a las categoras verbales. El proceso musicoteraputico concentrado en un improvisado, creativo tocar msica en grupo est basado en un modelo de tres niveles de la autora que contiene tanto los elementos de las tcnicas musicocntricas como de las tnicas logoteraputicas: 1. Desde el caos hacia un encuentro con la msica. En esta etapa la actuacin del terapeuta es muy estructuralizada y previsible - hasta el momento de una activa resonancia por parte de los pacientes. La principal estrategia en este caso es modelar. 2. Dilogo musical de Socrates. Una vez obtenido el sentido de la seguridad en la expresin musical, se provoca a los pacientes a buscar sus propios sentidos musicales. El terapeuta utiliza en esta etapa ms espacio, introduce elementos imprevisibles que es un reto para los pacientes que sirve para encontrar sus propias creativas respuestas en su propio lenguaje musical. 3. Autotranscendencia musical. La expresin de la creatividad individual de los pacientes, adecuadamente colocada en el contexto musical y social, basada en un activo y mutuo escuchar y comprometerse en la comunicacin musical. Se presentarn ejemplos musicales de diferentes niveles del modelo.

Presenter name(s) and affiliation(s): Please list your credential, as you would like them to appear in the program. Elzbieta Masiak (now MA, will be PhD at the end of October 2007). Contact information: name, address, telephone, fax and email of one contact person. Elzbieta Masiak ul. Slawinkowska 106 20-810 Lublin Poland Email: ellamasi@yahoo.com , elzbieta.masiak@kul.pl tel. 0048 - 508390211

192

Mini biography of presenters: (30 words maximum per person). Elzbieta Masiak is a research assistant, lecturer and trainer at the Department of Psychotherapy and Health Psychology of the Catholic University of Lublin, Poland. She works clinically at the Psychiatric Hospital of the Medical University of Lublin, Poland.

193

Distrs: Music therapy intervention.


Fausto Matas Castillo Verdn
Resumen La investigacin tiene como objetivo saber si la musicoterapia con modalidad receptiva produce cambios teraputicos favorables en adultos con estrs crnico. Se utilizo el diseo de sujeto nico de reversin (A-B-A-B). Se concluye que se logra confirmar la hiptesis de manera provisoria, pues son necesarias replicaciones para poder generalizar. Descripcin La investigacin tiene como objetivo conocer si la Musicoterapia con modalidad receptiva produce cambios teraputicos favorables en adultos con estrs crnico. Se utiliz un diseo experimental clnico de sujeto nico de reversin A-B-A-B. Se evalu la personalidad, la ansiedad, el enojo y la percepcin subjetiva del tratamiento mediante los siguientes instrumentos: JAS, EPQ, STAXI, IDARE y encuesta semiestructurada realizada por el investigador, respectivamente. Los resultados mostraron: disminucin del Neuroticismo, la ansiedad y el enojo e incremento de control de enojo durante las intervenciones teraputicas y efecto de reversin durante la fase de interrupcin. Se encontr correlato entre el efecto objetivo del tratamiento y la percepcin subjetiva de bienestar. Ante los resultados se concluye que se logr confirmar la hiptesis pero, de manera provisoria, pues son necesarias replicaciones con ms sujetos para poder generalizar. Nombre y datos del autor Nombre y apellido: Fausto Matas Castillo Verdn Ttulo: Musicoterapeuta UBA Contacto Nombre: Fausto Matas Castillo Verdn Direccin: Medel 94. Monte Grande. Buenos Aires. Argentina. Telfono: 42968945 e-mil: matiascastillomt@gmail.com.ar Biografa (Castillo Verdn Fausto Matas) Naci en Neuqun (1981). Es musicoterapeuta (UBA). Trabaja en un centro de da, un geritrico, una escuela especial, un hospital psiquitrico, es ayudante de una ctedra de la carrera de musicoterapia, UBA y trabaj en un hogar de da, todas estas instituciones ubicadas en zona sur de Buenos Aires (2007).

Title of the work. Distrs: Music therapy intervention. Summary The research has the objective of knowing if Music Therapy with receptive method generates therapeutics changes auspicious in adults with chronic stress. It has been used the unique person of reversion design. (A-B-A-B). It concludes that the hypothesis is confirm in a provisory way, well then are necessary replications for generalize. Description The research has the objective of knowing if Music Therapy with receptive method generates therapeutics changes auspicious in adults with chronic stress. It has been used an experimental clinic design of unique person of reversion design A-B-A-B. It was evaluate the personality, anxiety, anger, and subjective perception of the treatment through the next instruments: JAS, EPQ, STAXI, IDARE and a semi structure enquiry carry out by the investigator, respectively. The results showed: decrease of the Neuroticism, the anxiety and the anger and an increment of the anger control during the therapeutic interventions and reversion effect during the interruption stage. It was found a correlation between the objective effect of the treatment and the subjective perception of comfort. In presence of the results it was conclude that the hypothesis was confirm but, in a provisory way, well then are necessary replications with more persons to make generalizations. Author name y data. Name and surname: Fausto Matas Castillo Verdn. Diploma: Music Therapist. UBA

194

La musicoterapia como psicoprofilaxis en odontologa


Lus Matas MORALES MANTEROLA - Margarita RONCO - Elsa Ren MANTEROLA
RESUMEN: La musicoterapia como Psicoprofilaxis en odontologa prepara a aquellos pacientes que realizan su primera consulta odontolgica para que acepten voluntariamente tratamientos con anestesia local sin sedacin. Se trabaja interdisciplinariamente antes, durante y despus de la intervencin odontolgica. DESCRIPCION: La Musicoterapia como psicoprofilaxis propone preparar al paciente, a travs de tcnicas musicoteraputicas, para una mejor intervencin odontolgica El musicoterapeuta acompaa y sostiene al paciente desde lo musical para ayudarlo a que movilice defensas adecuadas que sean capaces de neutralizar la angustia que despierta la intervencin odontolgica. En la experiencia preliminar a la presente investigacin se ha observado que el porcentaje de adherencia al tratamiento odontolgico es mayor entre aquellos pacientes que interviene la musicoterapia de aquellos que no interviene la musicoterapia. Se realiza un diseo de investigacin de comparacin intersujeto, prospectivo, experimental y transversal. La tcnica de muestreo consiste en la asignacin aleatoria de cada uno de los pacientes a uno de estos dos grupos: 1) Tratamiento odontolgico. 2) Tratamiento odontolgico con musicoterapia. Se emplear un procedimiento de muestreo aleatorio en bloque aplicando la herramienta estadstica Vccstat 2.0. La experiencia fue realizada en el marco de un tratamiento interdisciplinario en los consultorios privados ODIMA Odontologa Integral bajo la direccin de la Prof. Dra. Elsa Ren Manterola, en la Ciudad de Buenos Aires, Argentina.

NOMBRE Y DATOS DE LOS AUTORES: Mt. Lus Matas MORALES MANTEROLA. Universidad de Buenos Aires. Mt. Margarita RONCO. Universidad de Buenos Aires. Prof. Dra. Elsa Ren MANTEROLA. Universidad de Buenos Aires. CONTACTO Nombre: Lus Matas MORALES MANTEROLA Direccin: Ecuador 1329 10 A. Tel: 4827-3379. Cel.: 155-7213495 matutemoralesm@yahoo.com.ar

MINI BIOGRAFA DE LOS PRESENTADORES: Lus Matas MORALES MANTEROLA Musicoterapeuta Universidad de Buenos Aires (UBA), Argentina. Miembro fundador del Equipo de Musicoterapia para el tratamiento de las adicciones del Hospital de da del Hospital Alvarez, Buenos Aires, Argentina. Musicoterapeuta del Instituto de Nivelacin, del dispositivo teraputico El Duende Olivos y del Centro Especializado en Psicomotricidad, Problemas de Lenguaje y Aprendizaje. Margarita RONCO. Musicoterapeuta. Egresada de la Universidad de Buenos Aires, Argentina. Coordina grupos de musicoterapia en Mami Sound para: mujeres embarazadas, parejas y nios con necesidades especiales. Profesora de msica en Instituto Integral de Educacin (IIE), dicta clases integrando adolescentes con sordera e hipoacsias con chicos oyentes. Coordinadora de grupos para personas de tercera edad ( enfermos de Alzheimer)en el geritrico La Plaza, y en Pensionado Francisco Darder. Dra. Elsa Rene MANTEROLA. Profesora adjunta de la catedra de ciruga y traumatologa BucoMaxiloFacial I. Facultad de Odontologa. Universidad de Buenos Aires. Secretaria de la academia Latinoamericana de Disfunciones Estomatognticas.

195

El trabajo con canciones en el tratamiento de la adiccin a las drogas.


Lus Matas MORALES MANTEROLA
RESUMEN: El presente trabajo propone un abordaje que utiliza como herramienta especifica a las diferentes modalidades del trabajo con canciones y funciones del canto en el tratamiento de personas adictas a las drogas. DESCRIPCION: El consumo desmedido de toda clase de drogas, legales e ilegales, es una realidad existente en el mundo. Las adicciones representan una problemtica social y un padecimiento personal y familiar. Por tal motivo, se han desarrollado diferentes estrategias para el tratamiento de dicha problemtica. Se propone como herramienta y recurso vlido, en el tratamiento de personas adictas a las drogas, el trabajo con canciones. Este abordaje est sustentado por el lugar que ocupan las canciones en la vida de las personas, desde su nacimiento. A lo largo de la historia de la humanidad diferentes culturas y sociedades han creado canciones como forma de expresin de emociones, pensamientos y sentimientos. Relatos cantados trasmitidos por generaciones que quedaron asociados a diferentes momentos de la historia personal de cada hombre. En la actualidad, con los grandes avances tecnolgicos, las posibilidades transmisin de estas expresiones se han multiplicado. Las canciones le permitirn al paciente ser y expresarse en la msica. Son un instrumento valioso para el trabajo en musicoterapeuta. Permitirn trabajar y resolver en la msica aquellas cuestiones que motivaron el tratamiento. Por este motivo es importante conocer y respetar todas las expresiones musicales que presenten estos pacientes, ya que a travs de ellas pueden expresar su problemtica. Para abordar el tratamiento de pacientes adictos, el trabajo con canciones se desarrolla a partir de las diferentes funciones y modalidades del canto que pueden presentarse en el espacio de musicoterapia. Este abordaje tendr como fin: mejorar la calidad de vida y reducir los factores de riesgo existentes: personales, emocionales y/o sociales. NOMBRE Y DATOS DEL AUTOR: Mt. Lus Matas MORALES MANTEROLA. Universidad de Buenos Aires. CONTACTO Nombre: Lus Matas MORALES MANTEROLA Direccin: Ecuador 1329 10 A. Tel: 4827-3379. Cel.: 155-7213495 matutemoralesm@yahoo.com.ar

MINI BIOGRAFA DE LOS PRESENTADORES: Lus Matas MORALES MANTEROLA Musicoterapeuta Universidad de Buenos Aires (UBA), Argentina. Miembro fundador del Equipo de Musicoterapia para el tratamiento de las adicciones del Hospital de da del Hospital Alvarez, Buenos Aires, Argentina. Musicoterapeuta del Instituto de Nivelacin, del dispositivo teraputico El Duende Olivos y del Centro Especializado en Psicomotricidad, Problemas de Lenguaje y Aprendizaje.

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Exploring Musical Creation and Communication Your Computer and Special Access KitTM
Adrian Alexander
Abstract: Discover a world of opportunities for music creation available through the use of a unique system called Special Access KitTM. Participants will examine ways to extend their practice using custom software and an appealing interface called the Banana KeyboardTM. A free downloadable set of resources will be explored. Description: This workshop will be an opportunity for participants to experience a unique system designed to assist those with disabilities to make music and communicate. The Special Access KitTM has undergone fifteen years of development and allows any combination of musical instruments or sounds to be played on the Banana KeyboardTM or via up to 8 external switch inputs commonly used in the field of disability. Arrangements of the sounds are opened in the PC based software and can be played and recorded. The system also allows for audio recording from a microphone or other input. Practical demonstrations involving workshop participants will be conducted, illustrating its use in a variety of curriculum areas. A website for sharing arrangements of sounds and associated curriculum materials is hosted by the Arts Centre, Melbourne, Australia. This is a free service for users of the kit, allowing 175 users worlwide to upload and download ideas, arrangements and resources. A list serve for the growing global community also supports the network of users. A look at the website and the plethora of materials it houses will be included in the workshop. The results of a new trialling project, being conducted and video documented at the Arts Centre, concluding in June 2008, will also be presented in brief at the workshop. The project is employing a Music Therapist using the kit with a variety of special needs children and aged care clients to create new arrangements for the kit and trial its effectiveness. The new arrangements will be added to the pool on the website for worldwide use. More information from the website: http://www.theartscentre.net.au/sak Presenter name and affiliations: Adrian Alexander, Chairman, SoundHouse Association and SoundHouse Manager, the Arts Centre, Melbourne Australia. Contact information: Adrian Alexander Alfred Brash SoundHouse The Arts Centre 100 St Kilda Road Melbourne, Australia, 3004 Telephone +613 9281 8501 Faxcimile +613 9281 8618 Mini biography of presenters: Adrian Alexander has been a music educator and music technology innovator for over 25 years. He is the inventor of the kit and chairs an international network in music technology

Titulo de la presentacin Exploracin de la creacin y la comunicacin musical- Su computadora y el Special Access KitTM (Equipo de Acceso especial ) Compendio: Descubra un mundo de oportunidades para la creacin musical disponible mediante el uso de un sistema nico llamado Special Access KitTM. Los participantes analizaran maneras de aumentar su cantidad de pacientes mediante el uso de su programa ( software) y de una atrayente interaccin (interface) llamada el teclado Banana Banana KeyboardTM. Sern explorados una seleccin de recursos descargables y gratuitos disponibles en la red. Descripcion: Este taller ser una oportunidad para que los participantes prueben un sistema nico diseado para ayudar a los discapacitados en la produccin de msica y en la comunicacin. El equipo de acceso especial ha sido desarrollado a lo largo de 15 aos y permite tocar cualquier combinacin de instrumentos musicales o sonidos usando el teclado Banana o usar hasta ocho llaves de acceso externo comnmente empleados en el rea de discapacitados. Los arreglos de los sonidos se pueden hacer con el programa en la computadora (PC), tambin se pueden grabar y escuchar. El sistema tambin permite grabacin desde un micrfono u otro tipo de dispositivo. Para hacer posible ilustrar su uso en una variedad de reas del currculo, habr demostraciones prcticas con la participacin de quienes acudan a la presentacin. Un sitio WEB auspiciado por El Centro de las Artes de Melbourne (Arts. Centre) ofrece compartir arreglos de 197 sonidos y materiales asociados con el currculo. Este es un servicio gratuito para los usuarios del equipo que permite que 175 personas de todas partes del mundo intercambien ideas, arreglos y recursos. Una lista al servicio de la creciente comunidad global apoya adems la red

de usuarios. En el taller se presentaran el sitio y la pltora de materiales disponibles. En el taller habr una breve presentacin de los resultados de un nuevo proyecto de prueba que se esta ejecutando y grabando en el centro de las artes y terminara en Junio del ao 2008. El proyecto emplea un terapista musical que usa el equipo de acceso especial con nios discapacitados y con pacientes geritricos, y de esta forma poder crear nuevos arreglos en el equipo y probar su eficacia. Los nuevos arreglos sern agregados a la coleccin disponible en el sitio de web. Para mayor informacin consulte el sitio web http://www.theartscentre.net.au/sak Nombre del presentador y afiliaciones Adrian Alexander, Chairman, SoundHouse Association and SoundHouse Manager, the Arts Centre, Melbourne, Australia. Para contactar Adrian Alexander Alfred Brash SoundHouse The Arts Centre 100 St Kilda Road Melbourne, Australia, 3004 Telefono 613 9281 8501 Fax 613 9281 8618

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Community Music Therapy in the old shopping arcade, Kumamoto city, Japan
Hiroko Kimura
ABSTRACT: Open-access sessions were carried out in a community centre with local retired people. It was found that reviving old musical culture produced a beneficial effect in terms of participants well-being and on the local community. DESCRIPTIONS: Community Music Therapy is now one of the main aspects of music therapy, but in Japan few studies are carried out. One of the most difficult problems in an ageing society is how to keep elderly people active, especially those who have problems with health. As a group of music therapists we began to make sessions in Kokai shopping arcade, located in the northeast of Kumamoto City. This was once a bustling area but now is declining. Most of the shoppers are elderly who live alone or in couples. Because of age and health problems their opportunities to join the community and its activities are limited. So that shopping at Kokai once a day is often their only chance to go out. We set 3 objectives: First is to increase their physical and mental Quality of Life (QOL). By singing old songs their respiration improves and reviving memories of younger days makes them feel happy. The Second objective is to reunite them to the community. Many of them are isolated from the community, but having open access sessions allows people of various generations to meet. This helps to generate a new community spirit through music. Third is to help in the revival of the Kokai shopping arcade area. If our sessions become popular, it will also help increase activity in the arcade. We have held over 50 sessions in the Kumamoto University Satellite Studio, which is situated in the arcade. 10-18 participants took part each time, from a 2 months baby to an 84 year old. The beneficial affect of the music was indicated by positive responses in a questionnaire carried out in the 8th month of the project. During the sessions they told us about aspects of the old music cultures, information of great value to our community studies. They also brought old musical sources, which we are presently compiling in order to make a report on community music. In this way to recreate the old music culture became an important part of the lives of the participants. PRESENTER NAME AND AFFILIATION Hiroko Kimura (Faculty of Letters, Kumamoto University, Japan) CONTACT INFORMATION: Name: Hiroko Kimura Address: Faculty of Letters, Kumamoto University, 2-40-1 Kurokami, Kumamoto 860-8555, Japan. Phone & Fax: +81-96-342-2850 E-mail: pkimura@kumamoto-u.ac.jp MINI BIOGRAPHY OF PRESENTERS: Hiroko Kimura, a musicologist and a music therapist, received the M.A. degree from Tokyo University of Fine Arts and Music, Japan. She is an Associate Professor of Kumamoto University, Japan. Yumi Nishimoto received the M.A. degree from Kumamoto University, Japan. She works with elderly people with dementia and also with people in hospice as a music therapist . Hiroko Kimura: Community Music Therapy in the old shopping arcade, Kumamoto city, Japan Abstracto Sesiones abiertas al publico han sido celebradas en un centro cultural con jubilados atraves de las cuales se ha podido demonstrar el efecto positivo que tiene el revivir la cultura musical tradicional tanto para los participantes como para la comunidad. Descripcion La Musicoterapia Comunitaria es hoy en dia uno de los pricipales focos de antencion dentro de la terapia musical pero en Japon son muy pocos los studios realizados. Uno de los principales problemas dentro de una sociedad envejecida es el como manternerla activa especialmente a aquellos con problemas de salud. Como parte de un grupo de musicoterapeutas comenzamos ha celebrar sesiones de musicoterapia en el mercado de Kokai situado al noroested de la ciudad de Kuamamoto. Lo que fue en su dia una zona muy frecuentada es hoy una zona en pleno declive. La mayoria de la gente que frecuenta el mercado son personas mayores que viven solas o en pareja y que debido a su edad o a problemas de salud encuentran dificil participar en cualquier tipo de actividad dentro de la comunidad. Para muchos de ellos el hacer la compra diaria en el mercado de Kokai es la una oportunidad que tienen para salir de casa. Fijamos 3 objetivos: El primero, mejorar la calidad de vida fisica y mental de los particip199 antes. El cantar, en este caso viejas canciones, ayuda no solo a mejorar la respiracion sino que tambien ayuda sicologicamente al revivir recuerdos del pasado que hacen que los participantes se sientan felices.

El segundo objetivo es la integracion en la comunidad. Hay muchas personas de edad que se ecuentran aisladas de la comunidad y es atraves de las sesiones abiertas que es possible poner en contacto a gente de generaciones diferentes y reinforzar asi el sentido de comunidad atraves de la musica. El tercer y ultimo objetivo es ayudar a revivir el mercado de Kokai. Si las sesiones abiertas tienen exito es possible que la actividad en el mercado de Kokai aumente como consecuencia. Hasta el dia de hoy, en el Studio Satellite de la Universidad de Kumamoto situado en el mecardo de Kokai se han celebrado 50 sesiones abiertas todas con ellas con un numero de participantes de entre 10 a 18, y de edades entre 2 meses a 84 anos. El efecto beneficial que la musica ha tenido en los participantes se ve reflejado en los comentarios positivos que han sido recogidos atraves de un questionario durante los 8 meses que ha durado el proyecto. Durante las sesiones los participantes hablaron sobre diferentes aspectos de la musica tradicional lo cual ha servido de gran ayuda para nuestros studios sobre la comunidad. Los participantes tambien aportaron nuevas fuentes de musica tradicional que estan siendo recogidas en la actualidad con el fin de ser documentadas. La reavivacion de esta musica tradicional se ha convertido en una parte muy importante en la vida de los participantes.

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Una cancin de amor - Musicoterapia como recurso simblico en la psicosis.


Leonardo C. Mendes da Cunha
Resmen: Estudio de caso: La musicoterapia como eleccin de un sujeto psictico para salir de crisis. A travs del anlisis musical de sus composiciones y de la lectura de la transferencia por medio de la msica, se mostrar como esta sirve de punto de almohadillado, desplazamiento y estabilizacin del delirio. Descripcin: Milo (italiano) llega a mi consultorio en mayo de 2004, despus de varias internaciones psiquitricas. Se trataba de un discurso psictico, con elementos paranides, centrados en la revuelta de haber sido engaado para viajar a Brasil y separado de su pasin, no correspondida, Virginia. En el inicio de su crisis, en Italia, se tatu el nombre de Virginia en el pecho, y la haba perseguido obcecadamente. Era agresivo con quien, en su interpretacin, se opusiese a su amor: atac a su padre por negarle una motocicleta para conquistar a Virginia. En Brasil, me confes un plan de matar a su madre brasilea, para as ser deportado. A pesar de existir peligro de pasajes al acto, interpret esa confesin como un pedido de ayuda. Milo tocaba teclado y compona, por eso se vincul a la musicoterapia. La estrategia en la transferencia fue darle la libertad de hacer referencia a Italia y a Virginia, a travs de sus composiciones e improvisaciones. La msica lo ayudaba a presentar, en el plano de lo real, los objetos de sus impulsos, disminuyendo la distancia entre Italia-Virginia. Contaba y re-significaba su historia usando las canciones como banda sonora. Muchas de sus composiciones eran variaciones motvicas de una famosa cancin pop-rock, que representaba meldica y armnicamente su separacin amorosa. Cuando no soportaba estar lejos de Sonia tocaba esa cancin y se internaba. Esta pasin era una solucin erotomanaca para no ser invadido por delirios homosexuales. Con la musicoterapia, Milo dialectiz su pasin por Virginia (la metfora delirante del amor). Sus nuevas canciones se desplazaron para otros temas, inclusive, mujeres y estilos musicales. Conquist una nueva posicin subjetiva, con inters en actividades cotidianas y empez a salir con otras mujeres sin culpa de infidelidad. Milo dej de tener crisis y pidi alta en mayo de 2007.

Title: A Love Song - Music Therapy as a symbolic resource in psychosis. Abstract: Music therapy as a psicotic subject choice to get out crisis. Through musical compositions analysis and transfer through music interpretation, this work intends to show how musical discourse may become a point de capiton, displacement and delirium stabilization. Description: Milo (Italian) arrived at my office in May 2004, after several psychiatric internments. He shows a psychotic speech with paranoid elements, focusing on the revolt he had been "misled" to travel to Brazil and separated from his not reciprocated passion - Virginia. In the beginning of his crisis, in Italy, he tattooed Virginia in his chest and had obsessively pursued her. Milo was aggressive with whom, in his interpretation, was against his love. He attacked his father when he refused to give a motorcycle to win Virginia. In Brazil, confessed a plan to kill his Brazilian mother, to be deported. This confession was interpreted as a request for help, although there was a danger of passages to the act. Milo plays keyboard and composes; by this way he has linked to music therapy. My strategy into transference was given him freedom to discourse about Italy and Virginia through compositions and improvisations. Music helps Milo to present, in terms of the real, the objects of his impulses, decreasing the distance between Italy-Virginia. He was able to tell and re-mean his history using songs like a soundtrack. Most of his compositions were motive variations of a famous pop-rock song, representing, in melody and harmony, his love separation. Whenever was insupportable to be away from Virginia, he played this song and asked to go to a clinic internment. This passion was an erotomaniac solution to avoid homosexuals deliriums invasion. With music therapy, Milo could be dialecticing his passion for Virginia (loves delirious metaphor). His new songs moved to other topics, including women and musical styles. He has gotten a new subjective position, with interest in daily activities and began dating other women through with no more infidelity fault. Milos crisis stopped and he has asked me to get out treatment in May 2007.

Nombre y datos del autor: Leonardo C. Mendes da Cunha (Brasil) Contacto: Leonardo Campos Mendes da Cunha 201 Rua das Ubaranas, 212, Amaralina, Salvador- Bahia Brasil CEP 41910-390 Telfonos: 55-71-32407567 o 55-71-88692148

E-mail: leomendescunha@gmail.com y leocmcunha@hotmail.com Mini Biografia del presentador: Msico, psiclogo, musicoterapeuta y etnomusiclogo (investiga el Tor indgena); Presidente de la Asociacin Baiana de Musicoterapia y Coordinador del Postgrado en Musicoterapia de la UCSAL; Experiencia amplia en Salud Mental

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The Bonny Method of Guided Imagery and Music (BMGIM) a Method grounded on the feminine principles: possibilities of healing for the XXI Century.
Thelma Sydenstricker Alvares
Abstract: The BMGIM is presented as a method grounded on the feminine principle. Modern society emphasizes the masculine principle generating an unbalance in the psyche. The BMGIM is discussed as a possible inner quest journey for balance between the masculine and feminine sides of the psyche. Clinical examples will illustrate presentation. Description: Modern society is described as a patriarchal system in which the masculine principle, the principle of Doing, which urges to meet competitive challenges, seeking for honors and recognition, is emphasized. The feminine principle, the principle of Being, values the noncompetitive creation of things that are appreciated for their own essence and is over powered by the masculine principle. The lack of the feminine in the contemporary western society is increasingly injurious to the deeper layers of our existence. The presentation will discuss theoretical issues that explain the Bonny Method of Guided Imagery and Music as grounded in the feminine principle and its importance for contemporary society. The presentation will also be illustrated with clinical examples. Presenter name(s) and affiliation(s): Thelma Sydenstricker Alvares, Ph.D, Universidade Federal do Esprito Santo, Brazil. Contact information: Thelma Sydenstricker Alvares Rua Izaltino Arao Marques 191 apt 801 Vitria ES 29065-450 Brasil Tel: (27) 3315-1158 Cel (27) 9256-1163 Email: talvares@intervip.com.br Mini biography of presenters: Thelma Sydenstricker Alvares is a Brazilian music therapist who teaches at Universidade Federal do Esprito Santo. She got Ph.D at the University of Miami and BMGIM training at Bonny Foundation.

Abstract: El Mtodo Bonny de Imgenes Guiadas y Msica (BMGIM) se presenta como un mtodo basado en el principio femenino, una fuerza arquetpica. La moderna sociedad occidental refuerza el principio masculino, lo que genera un desequilibrio en la psique humana. Se discute el BMGIM como una posible jornada de bsqueda interior curativa que permite el equilibrio entre los rasgos masculino e femenino de la psique. Un ejemplo clnico ilustra la presentacin.

The BMGIM is presented as a method grounded on the feminine principle. Modern society emphasizes the masculine principle generating an unbalance in the psyche. The BMGIM is discussed as a possible inner quest journey for balance between the masculine and feminine sides of the psyche. Clinical examples will illustrate presentation.

203

Listen, I can do this! Music Therapy with profound and multiple difficulties
Motoko Hayata
Motoko Hayata, Soundscape, Newham Music Trust, UK ABSTRACT This presentation describes some examples from different music therapy cases with children and adults with profound and multiple difficulties. The video extracts show how music therapy can enhance the quality of life of clients with few other possibilities of creative selfexpression. DESCRIPTION Among my music therapy clients are some people with profound and multiple difficulties who are able to show many significant abilities and skills only within their music therapy sessions, where their own space is created and their own pace is allowed. For one boy, a couple of teaching assistants described him as a different boy as he is very quiet during the whole week and becomes so alive and active and noisy only in the music therapy sessions. There is a day centre for adults in the borough which has a community music group on their premises but the managers send service users with profound and complex needs to Soundscape (Music Therapy Department) Newham Music Trust for individual music therapy sessions. For these people with such a restricted quality of life, music therapy provides a key opportunity to show their abilities and use them creatively and expressively. A number of video extracts will be shown to illustrate the highly individual unfolding of this process of self-discovery in some of these clients.

Motoko Hayata, Soundscape, Newham Music Trust, UK (Spanish Version) Escucha, yo lo puedo hacer! Musicoterapia con dificultades profundas y mltiples.

RESUMEN Esta presentacin describe algunos ejemplos de varios casos de musicoterapia con nios y adultos con dificultades profundas y mltiples. Las pelculas demuestran como la musicoterapia pueda mejorar la calidad de vida de los clientes con pocas otras posibilidades de autoexpresin creativa.

DESCRIPCIN Entre mis clientes, hay algunos con dificultades profundas y mltiples quienes son capaces de demostrar muchas habilidades y aptitudes pero solo durante las sesiones, en las cuales tienen su propio espacio y propia velocidad. Para un nio, un par de sus asistentes se le describieron como otro nio porque es muy quieto durante toda la semana y llega a ser tan vivo, activo y ruidoso durante las sesiones de musicoterapia. Hay un centro de da en el municipio que tiene un grupo de msica de la comunidad en el establecimiento pero los directores los envan a Soundscape (el departamento de musicoterapia) de Newham Music Trust para sesiones individuales. Para estas personas con una calidad de vida tan restringida, musicoterapia da una oportunidad nica mostrar sus habilidades y usarlas en una manera creativa y expresiva. Un nmero de extractos de vdeo sern mostrados para ilustrar el desarollo tan individual e nico de autodescubrimiento en algunos de estos clientes. PRESENTER NAME(S) AND AFFILIATION(S) Motoko Hayata Newham Music Trust, London, England

CONTACT INFORMATION Motoko Hayata Soundscape Newham Music Trust Newham Academy of Music Wakefield Street London E6 1NG UK +44(0)20-8472-9895 (tel) +44(0)20-8471-0495 (fax)

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motoko.hayata@newham-music.org.uk

MINI BIOGRAPHY OF PRESENTERS Motoko Hayata trained at Nordoff-Robbins (London) and currently head of music therapy department, Soundscape, at Newham Music Trust, working with children and adults with a variety of needs

205

Music, trance and ecstasy in healing settings


Jrg Fachner
Abstract Music has been used in healing rituals since ancient times. Music has been played for people to induce altered states of consciousness (ASC), which alters the focus of attention, mood and type of thoughts about the world and the self. Music and altered states are connected in various ways concerning context, personal set, socio-ecological setting and cultural belief systems. Description There is an ongoing discussion whether music itself induced the changes via a trance mechanism or whether the setting and rituals connected to music induce ASC (Rouget, 1985). Rituals are loaded with iconographic representations of cultural narratives and folk heritage. Rituals use words and music as a content carrier of cultural symbols and therefore produce meaningful sequences of information that are processed individually corresponding to the biographic development and the personal meaning of health and illness targeted in such rituals. Research on hypnotic suggestibility questions whether personal states or traits are responsible for trance depth (Meszaros, Szabo, & Csako, 2002). According to Rouget (1985) trance is characterised as a state of ergothropic physiological functioning, which is achieved by the movement, agitation and chanting during figurative dance, music and mimic elements known from rituals used in ethnic music. The trophotropic state of ecstasy is connected to meditative and contemplative rituals that promote a receptive brain activity, which produces an increased amount of imaginative and associative processes, as it is known from the practice of guided imagery in music (GIM). Altered states and their therapeutic potential have been reported from different cultures and clinical, therapeutic and spiritual settings (Aldridge & Fachner, 2006). Music and altered states offer opportunities for using music-induced states of altered consciousness to promote physical and mental healing, treat substance dependence, and in spiritual and palliative care.

Msica, trance y xtasis en mbitos curativos Dr. Jrg Fachner University of Jyvskyl, Finland jofachne@campus.jyu.fi Resumen La msica ha sido usada en rituales de curacin desde la antigedad, y ha sido tambin un medio para inducir a las personas a estados alterados de conciencia (EAC); alterando el foco de atencin, estado de nimo y concepcin acerca del mundo y de s mismos. La msica y los estados alterados de conciencia tienen una conexin en varios sentidos, de acuerdo al contexto, situacin socio-ecolgica, situacin personal, y creencias. Descripcin Existe una discusin abierta respecto a si es la msica la que induce los cambios a travs de un "mecanismo de trance" o si es la circunstancia y los rituales conectados a la msica lo que induce los EAC (Rouget, 1985). Estos rituales estn cargados con representaciones iconogrficas de narrativa cultural y herencia folclrica. Adems, los rituales usan a las palabras y a la msica como un medio que conlleva smbolos culturales, y por eso producen secuencias de informacin significativas, que son procesadas individualmente de acuerdo al desarrollo biogrfico y concepciones personales de salud y enfermedad asociados a dichos rituales. La investigacin en el campo de la sugestin hipntica cuestiona si los estados y rasgos de la personalidad son determinantes en la profundidad del trance (Mezaros, Szabo, & Csako 2002). De acuerdo a Rouget (1985) el trance se caracteriza como un estado de funcionamiento fisiolgico ergotrpico, al cual se llega mediante el movimiento, la agitacin y el canto durante la danza figurativa, la msica y la mmica tomada de los elementos rituales usados en la msica tnica. El estado tropotrpico del xtasis est conectado a los rituales meditativos y contemplativos que promueven una actividad cerebral receptiva, la cual produce un incremento en la cantidad de procesos imaginativos y asociativos, como es sabido por la experiencia en la prctica de fantasa dirigida y msica "Guided Imagery in Music (GIM)" Reportes acerca del potencial teraputico que poseen los estados alterados de conciencia, se pueden encontrar en diferentes culturas y mbitos clnicos, teraputicos, o espirituales (Aldridge & Fachner, 2006). La msica ofrece oportunidades para inducir estados alterados de conciencia que pueden ser usados para curar la mente y el cuerpo, tratar la dependencia a substancias y en el cuidado paliativo y espiritual. Contact Dr. Jrg Fachner Finnish Centre of Excellence in Interdisciplinary Music Research Department of Music Eino Roiha Institute for Music Therapy University of Jyvskyl Seminaarinkatu 15

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P.O. Box 35 FIN-40014 University of Jyvskyl Finland Biography Dr. rer medic. Dipl. Pd Jrg Fachner is Senior Research Fellow at the Chair for Qualitative Research in Medicine at University Witten Herdecke, Germany. He is Managing Editor of the music therapy research and service site MusicTherapyWorld.Net and editor of the eJournal MusicTherapyToday.com.

207

Where Music Helps. Community Music Therapy in Action and Reflection


Brynjulf Stige
Abstract: This paper is based on a collaborative research project (2004-2008) on Community Music Therapy. An international team of researchers (Ansdell, Elefant, Pavlicevic, and Stige) have tracked eight projects from four different countries and the present paper communicates some of the main findings from these case studies, by discussing relationships between musical and extra-musical processes in music therapy. Description: The formal title of the study to be reported in this paper is An Exploratory Study of Community Music Therapy, and the study has been funded by The Research Council of Norway and supported by the University of Bergen in Norway, the Nordoff-Robbins Music Therapy Centre in London and The University of Pretoria in South Africa. The goal has been to document and analyse practices that too long have been underreported in academic texts, namely collaborative community-based approaches to music and health. The projects that have been tracked are localized in England, Israel, Norway, and South Africa. The concept of Community Music Therapy explicitly forefronts the issues of: cultural context and cultural difference; the relevance of local practice and theory traditions of music therapy within a globalising world; and the reflexivity that can be generated from international dialogue. The researchers are in the process of documenting the results of the study through publication of a book, and this paper will focus upon some central findings and implications of the project. The (re) emerging movement of Community Music Therapy will be contextualized in relation to; contemporary music therapy, community in late modernity, music as sociocultural phenomenon, and the problem of health inequities. These themes are integrated in a discussion of the role of the music therapist in a multidisciplinary field where professional and lay participants collaborate. In the final part of the paper, relationships between musical and extra-musical processes in music therapy will be discussed. Examples from one of the eight music projects tracked will be given. Presenter: Brynjulf Stige, PhD Contact information: Lars Hillesgt. 3, 5015 Bergen, Norway Phone: +47 97 16 97 46 brynjulf.stige@grieg.uib.no Mini Biography of Presenter: Brynjulf Stige PhD is Professor in Music Therapy at the University of Bergen and Head of Research at the Grieg Academy Music Therapy Research Centre. Stige has published on topics such as music education, music therapy improvisation, culture-centered music therapy, and community music therapy. He is Co-editor-in-Chief of Voices and Norwegian Editor of Nordic Journal of Music Therapy.

208

Music Therapy in rhizomatic functioning: experimentation in the field of Mental Health


Raquel Siqueira da Silva
Abstract This paper aims to present a music therapy experiment in the field of Mental Health with the background of Foucault, Deleuze and Guattari. The concepts of rhizome, network and Ritornello are discussed. A musical group formed by users of mental health services appeared in one traditional music therapic setting, however, it created a functioning way which is different and rhizomatic. This is about a work of social inclusion in the area of mental health through music. Description This study has the objective of mapping a music therapy experimentation in the field of mental health, that occurred during the period of 1994 to 2003 at 'Volta Redonda' city, Rio de Janeiro. The literature review that structured this research is present on the thoughts of Gilles Deleuze, Felix Guattari, Michel Foucault and Bruno Latour. The concepts of Rhizome, Network and Ritornello contributed for this cartography. In this process, one can identify lines of escape and lines of capture along the tracks of the musical group 'Mgicos do Som'; a device constructed by users of a Centre of Psychosocial Attention. This research shows movements, arrangements and the method of rhizomatic functioning of this group and inquires the music therapy action in mental health. The study considers that this experiment produced some micro-effect in music therapy procedure within the area of mental health, as it produced creation and contaminated the methods of work. In addition, the research indicates the esthetic, ethical and politic effects in the music therapy practice, and sustains a route that fragments instituted places and specialities, a transdisciplinary perspective in Music Therapy. This experimentation refers to a working system in Music Therapy that prioritizes a collective practice, as such in a group. All participants are important voices in the creation process. Collectively, the objectives delineated by the group members are set up to be achieved. In this experiment, the group managed to record an album, travel to other cities and perform many times. That produced changes in their lives. The group wished to extinguish prejudice through music. Preconceito[1] is the name of the first single from the opening album. The project gained the support of the mayor along with other mental health professionals. The thirteen group members sang and played the musical instruments, and the song lyrics of the album Sade Mental were also written by them. This album was released in 2000 and presented two sambas, two raps and one forr songs. Those are typical brazilian rhythms. Nowadays, the group Mgicos do Som recorded a second album and is waiting for launching support. This whole building process of the group began at classic music therapy sessions that end up discovering other possibilities. Techniques of music re-creation, composition and improvisation were used. The musical performances revealed a group that developed their interpersonal relationships as well as their musical skills. This practice, among others, affected by this functioning method, reinforces the autonomy and establishes the mental health user as an active agent of the changes in his life. In that sense, the music therapist shall be careful for the capturing movements, found in psychiatric hospitals, intending to deconstruct them by using democratic social inclusion practices. Name: Raquel Siqueira da Silva Address: Rua Cardeal Dom Sebastio Leme, 180/309. Santa Teresa. Rio de Janeiro, RJ. Brasil. CEP. 20240 011. E-mail: raqsiqueira2000@yahoo.com.br Raquel Siqueira Music Therapist. Psychologist and Master in Psychology. Musicoterapia y funcionamento rizomtico: experimentacin em Salud Mental. Resumen Objetivamos presentar una experincia en el campo de la Salud Mental, con fundamentacion em Foulcault, Deleuze y Guattari, donde el concepto de rizoma, network e ritornelo son discutidos. Un grupo musical compuesto por usurios de atendimentos em Salud Mental que atendido en un setting musicoterapico tradicional, criando una manera de funcionamento diferenciado y rizomatico. Se considera um trabajo de inclusion social en el campo de la salud mental atravs de la musica. Descripcion: El estdio presentado objetiva mapear una experincia musicoterapica en el campo de la Salud Mental, que fu desarrollado entre 1994 y 2003 em Volta Redonda, ciudade de Rio de Janeiro (Brasil). La revision bibliogrfica que fundamenta la investigacion se encuentra em los pensamentos de Gilles Deleuze, Felix Guattari, Michel Foulcault y Bruno Latour. Los conceptos de Rizoma, Network y `Ritornelo` contriburam a esta cartografia. Em este processo podemos identificar lneas de fuga y lneas del captura durante la vivencia del grupo musical `Mgicos do Som`, construdo com usurios de Centro de Atencion Psicosocial. Este estudo apresento movimentos, arreglos y una forma de funcionamento rizomatico deste grupo y investigo la da la musicoterapia en la Salud Mental. Consideramos que este experimento produzo algunos micro-resultados en los procedimentos en esta rea de aplicacion, evidenciando que su creacin musical h contaminado los mtodos de trabajo. 209 Entretanto, la investigacion indic los efectos estticos, ticos y polticos en la pratica musicoterapica y indica un via que fragmenta lugares institudos y especificidades, uma perspectiva transdisciplinar en Musicoterapia.

La experincia se refere a um modo de trabajo em Musicoterapia en que se prioriza la practica coletiva grupal. Todos los participantes son vozes importantes en el proceso creativo. Colectivamente se pudo viabilizar los objectivos trazados por los integrantes del grupo, que gravaram um CD, viajaram a otras ciudades hacendo muchas presentaciones que producieram cmbios em sus vidas. Atravs de la musica `Preconceito` (que habla sobre la marginalizacion de ciertos grupos sociales), el alcaide y otros profesionales de la ciudad empezaram a apoyar el trabajo. Los trece componentes del grupo cantavam y tocavam instrumentos musicales en el CD `Sade mental`, compuesto por musicas creadas por todos. El repertorio de sambas, raps y `forr`, ritmos tipicamente brasileros. Actualmente grabam el segundo CD. Todo el proceso de construcion del grupo empez en las sessiones de Musicoterapia Tradicional, pero descobrimos otras possibilidades. Fueram utilizadas tcnicas de re-criacion, composicion, y improvisacion musicales, atravs de las cuales, maduraram sus realcionamentos interpesonales y musicales. Estas practicas fortaleceram la autonomia y inclusion de los usurios de los servicios de Salud Mental, sendo agentes ativos de cambios de vida. El musicoterapeuta em esta rea dever ter cuidado com los movimientos de captura manicomiales, desconstruindo los mesmos atravs de practicas de inclusion social.

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The Wheel of Rhythms A technique in musical Improvisation.


Irene Lobo Madureira Keller
Summary: The technique consists of the capability to utilize musical elements of Flamenco dance for self-benefit as well as somebody elses, thus aiding and increasing the perception of sound-Human Being units, as a means to develop these self-acknowledgement capabilities through dancing, music, and ones own body, wherein the dance floor provides motion to the embodied sound.

Description: The Methodology to be utilized is The wheel of Rhythms. This technique consists of the application of Flamenco rhythms, made of a mix compas of 12 tempos, with its sound and symbolic aspects that seek to be subjectively transformed. This rhythms acts as a mobilizing element of body pulsation*, thus serving as a channel for the expression of its subjectivity. The exercises in the wheel of rhythms intend to create a power load, to unblock muscular tensions al well as to unload them. Striking the feet onto the grounding(groung on moving), deepens or connects the individual to his own energy, making possible the modification of pre-stablished tensions in the body. The integration between rhythm-moviment-voice, plays an important role in the expression of emotions, thus unblocking the tensions besides representing his very sound, identity fluid subjectivity. The Wheel of Rhythms will work ones body and his expressiveness through the body percussion, conscientious moving and voice, thus enabling his interaction with himself as well as with others, acceding to the body knowledge through a musical improvisation technique.

*Body pulsations: Term designated by the neo-reichian psychotherapist Alexander Lowen. This term refers to static body energys that are activated through music, touching or moving.

Authors Data and Name: Irene Lobo Madureira Keller Advisor: Prof. Dr. Friedrich-Wilhelm Wilker Personal data: Irene Lobo Madureira Keller Meissner Str. 12 70736 Fellbach Germany Home Telephone # +49 0711/863995 Cellular Telephone # +49 0170 5292126 e-mail: irene.keller@t-online.de imflamenca@yahoo.com.br

Ttulo: A Rueda de Ritmos- una tcnica en improvisacin musical. Resumen: La tcnica consiste en la capacidad de utilizacin de elementos musicales y el baile flamenco en beneficio propio y del prjimo, auxiliando y ampliando la percepcin de las unidades SonidoSer Humano. Para desarrollar las capacidades de reconocimiento de s mismo a travs del baile, de la msica y del propio cuerpo, donde bailar es dar movimiento al sonido corporizando. Descripcin:
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La metodologia a ser utilizada es la de A Rueda de Ritmos, dicha tcnica consiste en la aplicacin de los ritmos flamencos, compuestos por un comps mixto de 12 tiempos, con sus aspectos sonoros y simblicos buscando la transformacin en la subjetividad.

El ritmo acta como elemento movilizador de las pulsiones corporales*, sirviendo de canal para la expresin de su subjetividad. Los ejercicios de A Rueda de Ritmos pretenden crear una carga energtica, desbloquear tensiones musculares as como tambin descargarlas. El golpear los pies en el suelo (ground on moving), profundiza o contacta al individuo con su propia energa, posibilitando la modificacin de tensiones preestablecidas en el cuerpo. La integracin entre ritmo- movimientovoz, ocupa un papel importante en la expresin de las emociones, desbloqueando las tensiones, adems de representar la propia identidad sonora del individuo con toda su subjetividad. A Rueda de Ritmos trabajar el cuerpo y su expresividad a travs de la percusin corporal, Movimiento consciente y voz, propiciando su interaccin consigo mismo y con el prjimo, accediendo al saber corporal a travs de una tcnica de improvisacin musical.

* Pulsiones corporales: trmino designado por el Psicoterapeuta neo-reichiano Alexander Lowen. Con este trmino se refiere a las energias corporales estticas que se activan con la msica, el tacto o con el movimiento. Datos y Nombre del Autor: Irene Lobo Madureira Keller.(Brasil) Licenciada en Musicoterapia. Universidad Catlica de Salvador de Baha (UCSAL). Brasil. 2007 - Mster en Musicoterapia. Universidad de Heidelberg, Alemania (en curso) Proyecto: Flamenco und Musiktherapie (Flamenco y Musicoterapia) El cuerpo como instrumento musical en el Setting musicoterapetico. El ritmo como una representacin de su subjetividad. Posibilidades y lmites de su uso. Orientador: Prof. Dr. Friedrich-Wilhelm Wilker Lnea de investigacin: Reconocimiento de las emociones a travs de la msica. Datos personales: Irene Lobo Madureira Keller Meissner str.12 70736 Fellbach Alemania Telfono Particular: +49 0711/863995 Mobil: +49 0170 5292126 E-mail: imflamenca@yahoo.com.br y irene.keller@t-online.de Mini-Biografa: Musicoterapeuta, terapeuta psicocorporal, Bailarina y Profesora de Flamenco desde 1997. Invertigadora de la cultura flamenca, estudia la subjetividad del cuerpo-sonoro que baila Flamenco y realiza un Mster en Musicoterapia en la Universidad de Heidelberg, Alemania, donde reside desde el 2005. Resiquitos Audiovisuales: Equipo de audio y Proyector de Power Point.

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Existential/Humanistic Music Therapy: Theory and Practice


Paul Nolan
Abstrac This presentation will demonstrate musical and relational experiences that facilitate existential/humanistic psychotherapeutic processes. Clinical examples and music experiences will demonstrate how existential/humanistic oriented music therapists make possible the clients experiences of: self actualization; creativity; meaning; beauty through the musical experience; transcendence, and a connection with the spiritual life.

Titulo: Terapia Musical de Manera Existencial/Humanstica: Teora y Practica Sinopsis: Esta presentacin demostrar experiencias musicales y de asociacin que facilitan los procesos psicoteraputicos de manera humanstica e existencial. Ejemplos clnicos y experiencias musicales demostraran como terapeutas musicales orientados bajo el enfoque humanstico e existencial hacen posible que los clientes conlleven experiencias de: auto realizacin, creatividad, contenido y belleza a travs de la experiencia musical, trascendencia y conexin con la vida espiritual. Description: This workshop presentation will demonstrate how music therapists use expressive musical experiences to promote existential/humanistic principles such as: presence, freedom, responsibility, creativity, growth motivation, peak experience, self actualization, subjectivity, holism, resonance, presence, unconditional positive regard, meaning and other core principles of existential humanistic psychotherapy. Some of these concepts were described as basic influences and were also applied to clinical understandings of client progress in early Nordoff & Robbins and Guided Imagery and Music literature. However, although current music therapists frequently describe a clinical approach that is influenced by some of these concepts in published descriptions of their work, there is yet to be a clearly described existential/humanistic model of music therapy, particularly in terms of how these processes are apparent in the actual music therapy relationship. This presentation will describe theory and use clinical examples and music experiences to demonstrate how an existential/humanistic oriented music therapist: 1) activates client presence in the music therapy setting; 2) listens to the clients music in a manner to obtain the clients story; 3) works toward a goal of creating beauty through the music as a meaning making pursuit and for transcendence; 4) encourages a connection through the music with the clients spiritual life. Audience participation and dialogue will be encouraged throughout this two hour session. Presenters name: Paul Nolan, MCAT, MT-BC, LPC Associate Professor and Director, Music Therapy Education, Hahnemann Creative Arts in Therapy Program at Drexel University Contact Information: Paul Nolan, MCAT, MT-BC, LPC Director, Music Therapy Education 1505 Race Street, Mail Stop 905 Philadelphia, PA, 19102-1192 Tel: 00-1-(215) 762 6927 Fax: 00 -1- (215) 762 6933 Email: Paul.Nolan@Drexel.edu Mini Biography of presenter: Paul is Director of Music Therapy Education at Drexel University in Philadelphia and a Licensed Professional Counselor. He has over 30 years as a clinician and graduate music therapy educator.

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The Effective Brief Therapy Model: Present and Future Challenges to Music Therapy
Mary Elinor Boyle
Abstract: The Effective Brief Therapy Model of mental health services presents multiple challenges to music therapy practice as we currently conceive it. This session will discuss historical, conceptual and practical issues relative to this model. Description: The Effective Brief Therapy Model of mental health services evolved in the United States concurrently with deinstitutionalization of client services during the 1970s and 1980s. The model continues to evolve in this century and is the preferred service delivery model of third party payers. With the placement of clients into community settings, a continuum of services needed to become available to them. However, due to economically driven demographic realities, less and less services are available to many poorer clients. How can the profession of music therapy address these clients needs? The Effective Brief Therapy Model involves a 10-session goal-oriented and benefit review based case formulations. Typically, third party payers desire demonstration of benefit through research relative to diagnostic criteria. However, this may not be what the client sees as reasonable or desirable, as diagnostic criteria only relate to deficit areas. Clients choosing music therapy services most often acknowledge music as an area of personal strength. Development of the case formulation requires flexible and complex responses to the clients life and current situation, and methodology which allows the client to see himself/herself as a personal change agent. Case formulations should offer the client either an intervention that offers the best available prospect of benefit to the client or a decision that will be useful to the client (Hersen & Biaggio, 2000, p. 5). The challenges to our profession involve three major areas, i.e., practice, education and research. There is a need to re-conceptualize music therapy treatment options within this framework and to educate our students concerning this. Although we are developing our research base, we have not tested any treatments in this paradigm. Although most of us consider third party payment desirable, continued provision of our services under current paradigms will most probably be subject to dramatic change. Presenter name and affiliation: Mary Elinor Boyle, Ed.D., LCAT, MT-BC Mary Elinor Boyle, Ed.D., LCAT, MT-BC Director, Music Therapy Program State University of New York at New Paltz 1 Hawk Drive New Paltz, NY 12561 USA Telephones: Office 845-257-2709; Fax 845-257-3121 Email: boylem@newpaltz.edu Mini-biography of presenter: Dr. Mary Boyle is Director of Music Therapy at SUNY at New Paltz. Her research has been published in the Journal of Music Therapy, the Journal of Applied Behavior Analysis, and the Journal of Behavioral Education.

Abstracto: El Modelo de Terapia Breve Efectiva (Efective Brief Therapy Model) de los servicios de salud mental, presenta mu ltiples desafi os para la pra ctica de la Musicoterapia. Este taller discutira aspectos histo ricos, conceptuales y pra cticos relativos a este modelo tal como lo concebimos hoy en dia. Descripcio n: El Modelo de Terapia Breve Efectiva (Efective Brief Therapy Model) de los servicios de salud mental, ha sido desarrollado en los Estados Unidos al mismo tiempo que la desinstitucionalizacio n de los pacientes, es decir, el retiro de los pacientes de las instituciones psiquia tricas e integrarlos en el mundo real, durante los an os setenta y ochenta. El Modelo continu a su desarrollo en este siglo y es un servicio de preferencia por parte de las compani as de seguro. Con la colocacio n de los pacientes dentro de la comunidad, sigue existiendo la necesidad de proveerles servicios. Sin embargo, debido a la carencia de fondos, los servicios son cada vez menos accessibles mayormente para las comunidades que sufren de dificultades econo micas. Co mo podri a la profesio n de la Musicoterapia atender las necesidades de estos pacientes? El Modelo de Terapia Breve Efectiva esta comprendido por 10 sesiones con sus objetivos y la revisio
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n de beneficios basados en la

formulacio n del caso. Ti picamente, las compan i as de seguro solicitan pruebas de los beneficios como resultado de las investigaciones relativas al criterio del diagno stico. Sin embargo, esto no necesariamente puede ser visto como razonable y querido por parte del paciente, ya que el criterio de diagno stico solamente toma en cuenta los aspectos negativos del caso. La mayori a de los pacientes que solicitan los servicios de Musicoterapia consideran la mu sica como un a rea de fortaleza personal. El desarrollo de la formulacio n del caso debe ofrecer respuestas flexibles y complejas para la vida de los pacientes y su situacio n actual, y la metodologi a que permite al paciente verse asi mismo como una persona que tiene la capacidad de ayudarse. Las formulaciones del caso deben ofrecer al paciente una intervencio n que ofrezca la mayor posibilidad de beneficio para el paciente o, una decisio n que sera u til para el paciente (Hersen & Biaggio, 2000, p. 5). Los desafi os para nuestra profesio n encierran tres areas principales: pra ctica, educacio n e investigacio n. Hay una necesidad de reconceptualizar las opciones de los tratamientos de Musicoterapia dentro de este marco y educar a nuestros estudiantes sobre a lo que esto concierne. Aunque estamos desarrollando nuestra base de investigacio n, no hemos probado ningu n tratamiento en este paradigma. Aunque la mayori a de nosotros nos consideramos elegibles por las compani as de seguro, el suministro de nuestros servicios bajo los actuales paradigmas sera n muy probablemente sujetos a cambios drama ticos.

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MUSIC THERAPY AND THE ART OF CARING FOR INDIVIDUALS WITH ALZHEIMER/DEMENTIA
Thomas E. Hawley
Abstract: The workshop will focus on the positive use of Music Therapy with geriatrics. The session will address present and future applications. The presentation will include: appropriate selection and use of music, rhythmic activities, techniques for accompanying, observation techniques, pitch selection, motivation techniques, staff involvement, as well as cultural considerations. Description: . The use of music with the geriatric population has been researched and documented in various professional journals. On May24,1999, the Music Making and Wellness Task Force held its final meeting at the NAMM Headquarters in Carlsbad, California. Initial results from the study indicate that active music making may contribute to the overall well-being of older adults. These results included significant decreases in reported anxiety, depression and loneliness in older adults. In addition, significant increases were seen in human growth hormones following music making. These are factors that are believed to be critical in coping with stress, stimulating the immune system, and in improving health. After working for over 20 years providing Music Therapy sessions with Alzheimer/Dementia residents, music continues to provide a positive experience in a geriatric, residential setting. The focus of the Music Therapy sessions is designed to provide an opportunity for interaction among the residents, as well as with the therapist. Music is a memory trigger and offers the residents a chance to sing songs, or parts of songs, which they remember from their past. Music plays an important role in the process of life. The songs are chosen based on the level of dementia during this life process. The sessions allow the residents to interact in a social setting designed for a positive experience with music. The sessions are individualized with name recognition activities. This one-on-one permits direct contact with each individual. Rhythm activities are incorporated as passive stimulation and low impact exercise. The music serves as a motivator and is successful even when working with the most severe dementia residents. Residents are given a choice of instruments, one of the few choices available in an institutional setting. Above all, music provides an opportunity to have a fun and an enjoyable experience even within the confines of a residential setting. Presenters name and affiliations: Thomas E. Hawley, Jr., PhD, MT-BC University of Maryland Baltimore County Board Certification for Music Therapy

Contact information: Thomas E. Hawley, Jr., PhD, MT-BC 2538 East Baltimore Street Baltimore, Maryland 21224 USA Tele: 410-675-3112 Cell: 443-527-6441 Fax: 410-561-8941 E mail: Tomhawleyjr@msn.com mailto:Tomhawleyjr@Juno.com Mini biography: (30 words) Thomas E. Hawley, Jr. earned a PhD from University of Maryland Baltimore County. He has been on faculty for 23 years. He has a private Music Therapy practice Ttulo de la presentacin: LA MUSICA-TERAPIAY EL ARTE DE LA ATENCION DE INDIVIDUOS CON DEMENCIA/ALZHEIMER Resmen: Ester taller enfocar en el uso positivo de la Msica-Terapia en la geriatra. La session mencionar usos presente y futuros. La presentacin incluir la seleccin apropiada y uso de la msica, actividades rtmicas, tcnicas de acompaamiento, tcnicas de observacin, seleccin de tono, tcnicas de motivacin, involucracin de personal, y consideraciones culturales. Descripcin: El uso de la msica con poblaciones geritricas ha sido investigado y documentado en varias publicaciones profesionales. En el 24 de mayo de 1999, el Grupo de Tareas para la Ejecucin de Msica2y6el Bienestar (Music Making and Wellness Task Force) tuvo su reunin 1 final en la Oficina Central del NAMM in Carslbad, California, EEUU. Los resultados iniciales del estudio indican que la ejecucin de la msica puede contribuir al bienestar general de adultos gerontes. Estos resultados incluyen significativas reducciones en ansiedad

reportada, depresin y soledad en adultos gerontes. Adicionalmente, se encontraron significativos aumentos en hormonas de crecimiento humanas como resultado de la ejecucin de msica. Estos son factores que se consideran crticos para enfrentar el estrs, estimular el sistema inmunolgico y para mejorar la salud. Luego de ms de 20 aps de trabajo ofreciendo sesiones de Msica-Terapia a residentes con Demencia/Alzheimer, la msica continua proveyendo una experiencia positiva en un ambiente residencial geritrico. El enfoque de las sesiones de Msica-Terapia est diseado para proveer oportunidades de interaccin entre los residentes tanto como con el terapeuta. La msica es un accionador de la memoria y ofrece a los residentes una oportunidad de cantar canciones, o parte de las canciones, las cuales ellos recuerdan de su pasado. La msica juega un rol importante en el proceso de la vida. Las canciones son elegidas basadas en el nivel de demencia durante este proceso de vida. Las sesiones permiten que los residentes interacten en un ambiente social diseado para una experiencia positiva con la msica. Las sesiones se individualizan con actividades de reconocimiento de nombres. Estas sesiones individuals permiten contacto directo con cada individuo. Las actividades rtmicas se incoporan como estmulo pasivo y ejercicio de bajo impacto. La msica sirve como un motivador y es exitosa an en los casos ms severos de demencias. A los residentes se les dan una eleccin de instrumentos, la cual es una de las pocas elecciones disponibles en un ambiente institucional. Sobre todo, la msica provee oportunidades para que los residentes se diviertan y que disfruten con la experiencia an en el marco de un ambiente residencial. Nombre del presentador y afiliaciones: Thomas E. Hawley, Jr., PhD, MT-BC Universidad de Maryland, Condado de Baltimore (University of Maryland, Baltimore County) Consejo de Certificacin de Mscia-Terapia Tom, I need to discuss with you the following (listed as reminders) 1. 2. 3. 4. 5. 6. 7. 8. Residents Applications Task Force Music Making Name Recognition Activities One-on-One Choice of instruments Confines

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BRAIN, GROUP ANALYSIS AND MUSIC THERAPY AS THERAPEUTIC METHODS IN ALZHEIMERS DISEASE
Dimitrios GIAKOUMAKIS
Abstract: This study will be present Brain, Group Analysis combined with Music Therapy. Music therapy is a viable approach with persons who have diagnosis of the Alzheimers type and for their caregivers. Observations serves as the foundation of psychoanalytic training. The dynamic between therapist and members will be presented as well.

Description: This study will be present the function of music as a method of group analytic therapy, the etiology, prevalence and course of Alzheimers disease as well as those who provide their care. Music is working to develop models for understanding clinical music practice. Though there has been exploration of the application of psychoanalytic theory and technique to the therapeutic function of music, little has been written comparing the client-therapist relationship by music with mother - infant interactions. Mother-infant, matrix-group members of group analysis observation serves as the foundation of much group analytic - psychoanalytic training. Indeed it was Freud (1921) who sensitively described the childs experience of loss as explored with a cotton real. We shall introduce the main goals of music therapy with Alzheimers patients as members to the group analytic. Also, we are going to demonstrate how the plasticity of the human brain combined with group analysis and music therapy enhances the lives of both patient and caregiver. We shall present the therapeutic methods - programs which comprise a variety of structured music experiences. Both of them is flexible in providing therapeutic services for a wide range of abilities at all stages of the diseases process and enhance the life of both patient and caregiver. Therapeutic methods and programs which comprise a variety of structured music experiences will be presented. Group Analysis and Music approach higher level of thinking analyzing as Identification, Mirroring, Projection, Defenses Mechanism etc. The dynamic function and interaction of music between therapist and group members will be presented as well. Finally, this study will analyze the dynamic function of the interaction between the therapist of group (either Small, Medium or Large) and the member of this by music (Rhythm, Notes, Songs and Organs).

Presenter Name(s) and Affiliation: GIAKOUMAKIS Dimitrios, Menoutis Vassilis. Hellenic Assosiation of Group Analysis and Psychotherapy (HAGAP) Athens GREECE

Contact information: Hellenic Assosiation of Group Analysis and Psychotherapy (HAGAP) 8 Lalechou Str., 15451 Neo Psychiko, Athens GREECE Tel: + 210 8628487 Tel/ Fax: + 210 8619577 E-mail: hagap@otenet.gr Dimitrios GIAKOUMAKIS Mini Biography of Presenters(30): I. Dimitrios GIAKOUMAKIS Psychologist, MSc. Cognitive Science, MSc. Research Methods and Psychological Assessment, Group Therapist -Analyst and Musician. As conductor to the Educational Music-Therapy Program in Athens and to Group Psychotherapy, Therapeutic Community.

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Insercin de la Musicoterapia en el Hospital de Agudos B. Rivadavia


Nicola, Mara Dolores - Marsimian, Nuria - Nuzzi, Mariana - Daz Prez. Magdalena - Cavallo, Mara Elena - Goyheneix. Mercedes - Taube, Carolina. - Chiavone, Vernica
Resumen: El Poster presenta la insercin del Equipo de Musicoterapia en los diferentes servicios del Hospital de Agudos B. Rivadavia, enmarcada dentro de la concurrencia de Musicoterapia siendo la nica que realiza abordajes clnicos y preventivos de Musicoterapia en Medicina . Se incluyen los objetivos generales y especficos as como tambin la modalidad de trabajo de cada servicio. Descripcin: El Poster presenta la insercin del Equipo de Musicoterapia en los diferentes servicios del Hospital de Agudos B. Rivadavia. La concurrencia de Musicoterapia en el Hospital Rivadia, es la nica concurrencia en Buenos Aires que realiza abordajes clnicos y preventivos de musicoterapia en Medicina. Se incluyen los objetivos generales y especficos as como tambin la modalidad de trabajo de cada servicio. En cuanto a la modalidad de trabajo, se utilizan 3 ejes de accin principales. Estos son las improvisaciones musicales teraputicas, el trabajo con canciones y el uso selectivo de la msica editada.

Nombre y datos de autores: Equipo de Musicoterapia del Hospital B. Rivadavia: - Nicola, Mara Dolores. Lic. en Musicoterapia. Concurrente Tercer ao. - Marsimian, Nuria. Lic. en Musicoterapia. Concurrente Segundo ao. - Nuzzi, Mariana. Lic. en Musicoterapia. Concurrente Segundo ao. - Daz Prez. Magdalena. Lic. en Musicoterapia. Concurrente Primer Ao - Cavallo, Mara Elena. Lic. en Musicoterapia. Concurrente Primer Ao - Goyheneix. Mercedes. Lic. en Musicoterapia. Concurrente Primer Ao - Taube, Carolina. Lic. en Musicoterapia. Concurrente Primer Ao. - Chiavone, Vernica. Lic. en Musicoterapia. Concurrente Primer Ao. Supervisor: Lic. Diego Schapira

Contacto: mtrivadavia@yahoo.com.ar En representacin de todas las autoras del trabajo dejo mis datos: Mercedes Goyheneix Hudson 666 San Isidro (1642) Bs.As., Argentina, Tel: 4723-4693 / 1555126794

Tipo de presentacin: Sesiones de Posters

Title: Music Therapy insertion in the Bernardino Rivadavia `s Hospital Summary: The poster presents music therapy services in the various departments of B. Rivadavia `s hospital. The Music therapy concurrence at Rivadavia `s hospital is the only approach that works through clinical and preventive treatment in medical conditions. The poster includes general and specific goals as well as the working method of each service. Description: The poster presents music therapy services in the various depa2t19ents of B. Rivadavia `s hospital. The Music therapy concurrence at rm Rivadavia `s hospital is the only approach that works through clinical and preventive treatment in medical conditions.

The poster includes general and specific goals as well as the working method of each service, such as therapeutic musical improvisations, song working and the selective use of edited music.

Name and data author: Music Therapy Team of B. Rivadavia `s hospital: -- Nicola, Maria Dolores. Lic. In Music Therapy. Concurrent third year. -- Marsimian, Nuria. Lic. In Music Therapy. Concurrent Second year. -- Nuzzi, Mariana. Lic. In Music Therapy. Concurrent Second year. -- Diaz Perez. Magdalena. Lic. In Music Therapy. Concurrent First Year -- Cavallo, Maria Elena. Lic. In Music Therapy. Concurrent First Year -- Goyheneix. Mercedes. Lic. In Music Therapy. Concurrent First Year -- Taube, Carolina. Lic. In Music Therapy. Concurrent First Year. -- Chiavone, Veronica. Lic. In Music Therapy. Concurrent First Year. Supervisor: Lic. Schapira Diego Contact: Mtrivadavia@yahoo.com.ar On behalf of all the authors of this work I leave my data: Mercedes Goyheneix Hudson 666 San Isidro (1642) Buenos Aires, Argentina, Tel: 4723-4693 / 1555126794

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MUSICOTERAPIA EN LA INTEGRACION DE NIOS CON NECESIDADES EDUCATIVAS ESPECIALES. UNA PROPUESTA POSIBLE
PALADINO PAOLA KARINA
Interrogantes y desafos planteados dentro de la Educacin Especial, pensados desde la Musicoterapia, fueron los que le dieron forma a este proyecto que integra nios con necesidades educativas especiales y nios de escolaridad comn, en el Colegio De La Salle, de la ciudad de Buenos Aires, desde el ao 2001.

MUSIC THERAPY IN THE INTEGRATION OF CHILDREN WITH SPECIAL LEARNING NEEDS. A POSSIBLE PROPOSAL Questions and challenges arisen within Special Education, thought from the point of view of Music Therapy, gave shape to this project that has integrated children with special learning needs and children in the regular schooling, in the La Salle School, Buenos Aires City, since 2001 Special Education in our country is nowadays influenced by an Integrationist approach.

Versin ampliada) MUSICOTERAPIA EN LA INTEGRACION DE NIOS CON NECESIDADES EDUCATIVAS ESPECIALES. UNA PROPUESTA POSIBLE

Interrogantes y desafos planteados dentro de la Educacin Especial, pensados desde la Musicoterapia, fueron los que le dieron forma a este proyecto que integra nios con necesidades educativas especiales y nios de escolaridad comn, en el Colegio De La Salle, de la ciudad de Buenos Aires, desde el ao 2001. La Educacin Especial se encuentra en estos momentos, en nuestro pas, atravesada por una corriente integracionista. - Podra incluirse la Musicoterapia en el dispositivo de la integracin con las modalidades que este plantea? - Cmo puede intervenir la Musicoterapia en las nuevas alternativas de atencin que propone la Ley Federal de Educacin, en la Repblica Argentina, dentro de la Educacin Especial? - Es posible revisar los Contenidos de Educacin Musical en la Educacin Comn, y construir una adaptacin de los mismos, aportando procedimientos y recursos de la Musicoterapia? - Qu cambios genera en la comunidad educativa las acciones integradoras llevadas a cabo con continuidad? Musicoterapia fue en los espacios curriculares de la Institucin, el primer sector que inici un proyecto de Integracin. Y este proyecto, dadas sus caractersticas fue el primero que se llev a cabo dentro de las instituciones escolares de la ciudad de Buenos Aires. MUSIC THERAPY IN THE INTEGRATION OF CHILDREN WITH SPECIAL LEARNING NEEDS. A POSSIBLE PROPOSAL

Questions and challenges arisen within Special Education, thought from the point of view of Music Therapy, gave shape to this project that has integrated children with special learning needs and children in the regular schooling, in the La Salle School, Buenos Aires City, since 2001 Special Education in our country is nowadays influenced by an Integrationist approach. Is it possible to include Music Therapy in the integration mechanism with the methods that this last one proposes? How can Music Therapy work in the new alternatives that the Federal Law of Education suggests to deal with Special Education in the Argentine Republic? Is it possible to revise the contents in the curricula of Musical Education in Regular Schooling, and adapt them including procedures and resources from Music Therapy? What kind of changes do integrating actions bring about to the Educative Community when carried out during a long period of time.

Music Therapy was the first area that started an integration project in the curricula of this institution. Moreover, given its characteristics, this was the first integration project carried on among the educational institutions in the city of Buenos Aires.
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Paola Paladino

DATOS PERSONALES APELLIDO: PALADINO NOMBRES: PAOLA KARINA NACIONALIDAD: Argentina DOMICILIO: Plaza 1302. Ciudad Autnoma de Buenos Aires. Rep. Argentina. CODIGO POSTAL: C1427CVN TELEFONO: (FAX) (54-011) 4552-0159 CORREO ELECTRONICO: pkpaladino@yahoo.com.ar FORMACION ACADEMICA Licenciada en Musicoterapia. Egresada de la Facultad de Medicina.Universidad del Salvador. Profesora Nacional de Enseanza Primaria. Egresada de la Escuela Normal Nacional Superior de Profesorado N1 de la ciudad de Bs. As. AMBITO PROFESIONAL Coordinadora de Talleres Teraputico Expresivos, en el abordaje de nios y adolescentes con patologas del desarrollo. Musicoterapeuta en la Seccin de Educacin Especial del Colegio de La Salle, de la ciudad de Bs. As., en la atencin de nios y adolescentes con patologas mentales.

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Musicoterapia en el Hospital Geral de Guarus una perspectiva en el sector pblico.


Ana Christina Santos Mussalem - Andra Toledo Farnettane
RESUMEN Este trabajo propone una lectura de los avanzos y de las dificuldades de la insercin de la Musicoterapia y por conseguiente del profisional musicoterapeuta actuante desde el ano de 2002 en el servicio pblico, a travs de concurso realizado para implantar el Hospital Geral de Guarus (HGG), en el Municpio de Campos dos Goytacazes, que se queda cerca de 280 km de la ciudad de Rio de Janeiro (RJ) Brasil. Abordaremos temas como: la implantacin de la Musicoterapia en el concurso pblico; Musicoterapia en el Hospital Geral; sala musicoterpica; Musicoterapia y equipo interdisciplinar; clientela y formas de atencin. Vivemos en un mundo, donde salud y educacin deven ser dadas mas valor. Intentase la recuperacin de la salud em vez de tomar medidas de prevencin, y as siendo, las personas sobrecarregan sus cuerpos y mientes, viviendo en su limitacin, sin se dar cuenta de escuchar su proprio ritmo y su ambiente sonoro. Las posibilidades de actuacin son mltiplas por la linguagen diferenciada de la Musicoterapia y necesarias por la carencia de la poblacin. Presentadoras: Ana Christina Santos Mussalem Andra Toledo Farnettane (Brasil): E-mail: farnettane_andrea@hotmail.com

Musictherapy at Hospital Geral de Guarus a perspective in public sector. Abstract This search aims to claim for a deep view of the advances and the difficulties for the insertion of Musictherapy and consequently the musictherapist acting since the year 2002 at the public service, through contest applied in order to implement the Hospital Geral de Guarus (HGG), in the city of Campos dos Goytacazes, 280 km from the city of Rio de Janeiro (RJ) Brasil. This paper approaches issues as: the implement of Musictherapy in the public contest; Musictherapy at Hospital Geral; musictherapy room; Musictherapy and interdisciplinary group; clients and good ways of serving. As we live in a world which the health and the education must be given more worth, people try to repair the health instead of preventing the illnesses, and the population follows overcarrying their body and mind, living close to their limit, without realizing the listening of the own rhythm as well as the environmental sound. The possibilities of acting are several by the different language of Musictherapy and the necessary lack from the population. Autoras y Mini Biografia Ana Christina Santos Mussalem Musicoterapeuta graduada por lo Conservatrio Brasileiro(Brasileo) de Msica, RJ, (1988). Especialista en Psicomotricidad por la Universidad Cndido Mendes, Formacin en Piano por lo Conservatrio Brasileiro de Msica. Musicoterapeuta del Hospital General de Guarus, de la Clnica Rehabilitar y Maestra de Artes de la Escuela Estadual de Campos dos Goytacazes. E-mail: acsmussalem@yahoo.com.br Andra Toledo Farnettane Musicoterapeuta graduada por lo Conservatrio Brasileiro de Msica, RJ, (1993). Especialista em Psicosomtica por la Universidad Gama Filho y en Salud Mental por lo Instituto de Psiquiatria de la Universidad Federal del Rio de Janeiro. Musicoterapeuta del Hospital General de Guarus, del Centro de Atencin Psicosocial (CAPS) Jos Miller, Nova Iguau, RJ y 2 VicePresidente de la Asociacin de Musicoterapia del Estadio do Rio de Janeiro. E-mail: farnettane_andrea@hotmail.com

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Programa de extensin Universitario Musicoterapia Clnica UBA


Karina Daniela Ferrari - Fabiana Vidal - Maria Jorgelina Aranda - Irina Maringeles Anastassiadis - Pilar Guzmn - Ester Rey Flocco - Maria Laura Surez:
Resumen: Se realizar la presentacin del programa de extensin universitario Musicoterapia Clnica perteneciente a la ctedra Musicoterapia II Licenciatura en Musicoterapia Universidad de Buenos Aires, bajo la direccin y supervisin de la Lic. Karina Daniela Ferrari. Dicho programa posee un rea asistencial y un rea de formacin e investigacin. Descripcin: Se realizar la presentacin del programa de extensin universitario Musicoterapia Clnica perteneciente a la ctedra Musicoterapia II Licenciatura en Musicoterapia Universidad de Buenos Aires, a cargo de la Lic. Karina Daniela Ferrari. Dicho programa funciona en la Sede Avellaneda (lugar donde se cursa la carrera de musicoterapia) desde el ao 2007, atendiendo a nios y adolescentes con diversas patologas, de forma interdisciplinaria con el programa de extensin Psicologa clnica en niosdesde donde son derivados los pacientes. El programa de extensin posee un equipo de 8 musicoterapeutas (alumnos avanzados de la carrera de musicoterapia y graduados recientes) bajo la direccin y supervisin de la Lic. Karina Daniela Ferrari. Como actividad de extensin universitaria, no slo brinda asistencia a la comunidad en forma gratuita, sino que funciona como espacio de formacin y estudio universitario del que participan en carcter de observadores, todos los alumnos que cursan la materia Musicoterapia II, teniendo un primer acercamiento al trabajo clnico en musicoterapia. En la actualidad, dicho programa se encuentra realizando una investigacin de campo, en relacin a los alcances de la etapa de valoracin inicial en musicoterapia (Etapa VIM), en el trabajo con nios. Nombre y apellido del autor/es: - Lic. Karina Daniela Ferrari. Licenciada en Musicoterapia, Doctoranda en Psicologa Social. - Fabiana Vidal: Musicoterapeuta - Maria Jorgelina Aranda: Estudiante de musicoterapia UBA - Irina Maringeles Anastassiadis: Estudiante de musicoterapia UBA - Pilar Guzmn: Estudiante de musicoterapia UBA - Ester Rey Flocco: Estudiante de musicoterapia UBA - Maria Laura Surez: Estudiante de musicoterapia UBA Contacto: Karina Daniela Ferrari. Av. Santa F 2235 1ro. C. Tel: 4823-7328 e-mail: kferrari@programaadim.com.ar Mini Biografa de los presentadores: Karina Daniela Ferrari Musicoterapeuta clnica, supervisora y docente en el Programa ADIM. Docente a cargo, Ctedra Musicoterapia II y curso de Posgrado Abordaje Plurimodal en Musicoterapia Universidad de Buenos Aires. Docente de la Maestra en Musicoterapia en La Habana, Cuba. Fabiana Vidal. Musicoterapeuta, egresada de la Universidad de Buenos Aires. Ha realizado el curso de Posgrado Abordaje Plurimodal en Musicoterapia (UBA). Formacin en Abordaje Plurimodal en Musicoterapia, programa ADIM. Maria Jorgelina Aranda. Estudiante de Musicoterapia en instancia de tesina (UBA). Formacin en Abordaje Plurimodal en Musicoterapia, programa ADIM. Irina Maringeles Anastassiadis. Estudiante de Musicoterapia en instancia de tesina (UBA). Formacin en Abordaje Plurimodal en Musicoterapia, programa ADIM. Pilar Guzmn Estudiante de Musicoterapia en instancia de tesina (UBA). Formacin en Abordaje Plurimodal en Musicoterapia, programa ADIM. Ester Rey Flocco Estudiante de Musicoterapia (UBA). Formacin en Abordaje Plurimodal en Musicoterapia, programa ADIM. Maria Laura Surez: Estudiante de Musicoterapia en instancia de tesina(UBA). Formacin en Abordaje Plurimodal en Musicoterapia, programa ADIM.

Name of the paper: University program Clinical Music therapy, University of Buenos Aires
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Brief:

The university program Clinical Music Therapy, belonging to the Music therapy II class from the Licenciatura in Music therapy degree course of the University of Buenos Aires, delivered by Karina Ferrari, PHd. This program taking care of children and teen agers suffering from different patholgies. Students and recent graduates can join the program. Speaker bio: Karina Daniela Ferrari Clinical Music Therapist, supervisor and teacher at Program ADIM. Teacher in charge, Music Therapy II class, University of Buenos Aires, graduate course Plurimodal approach in Music Therapy, at the University of Buenos Aires. Director, University program Clinical Music Therapy, University of Buenos Aires.

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Una experiencia de musicoterapia en adicciones desde el Abordaje Plurimodal.


DOnofrio, M. Vernica - Gonzles Geraldine - Hernndez, Paulina - Knox, Martina - Morales Manterota, Lus Matias
Resumen: Este trabajo propone exponer de que manera se desarrolla un proceso musicoteraputico en pacientes adictos. Se intentar plasmar los diferentes momentos del proceso musicoterapeutico explicando las distintas modalidades de intervencin, utilizando como marco terico referencial el Abordaje Plurimodal en musicoterapia.

Actividades: A partir de la experiencia realizada por el equipo de musicoterapia se desarrollaran: 1) La metodologa de trabajo utilizada por el equipo. 2) Las diferentes modalidades de intervencin planteadas por dichos postulados tericos, que han sido aplicadas con la poblacin de pacientes jvenes-adultos adictos. La modalidad de presentacin intentar a partir de la prctica, llegar a la teora y as realizar una articulacin que nos permita dar cuenta desde la lnea terica con la que trabajamos, de nuestro quehacer como profesionales de salud, utilizando registros escritos y sonoros que ilustrarn el trabajo. Nombre y datos del autor o autores: DOnofrio, M. Vernica: Musicoterapeuta ( UBA). Formacin en el Abordaje Plurimodal. Gonzles Geraldine: Licenciada en musicoterapia (Universidad del salvador) Hernndez, paulina: Licenciada en musicoterapia (universidad Maimonides). Musicoterapeuta (UBA). Knox, Martina: Musicoterapeuta (Universidad del Salvador) Morales Manterota, Lus Matias: Musicoterapeuta (UBA). Formacin en el Abordaje Plurimodal Contacto: MT. M. Vernica DOnofrio. Email: musicoterapiasur@hotmail.com. Cel: 155-630-8761 Part: 4292- 1398 Mini Biografa del presentador o presentadores: DOnofrio, M. Vernica: Musicoterapeuta rea clnica. Autismo. Adicciones Gonzles Geraldine: Musicoterapeuta. rea clnica. Adicciones. Hernndez, paulina: Musicoterapeuta rea clnica. Autismo. Adicciones Knox, Martina: Musicoterapeuta. rea clnica. Adicciones . Morales Manterota, Lus Matas: Musicoterapeuta rea clnica. Adicciones.

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Cuando ensear es tambim aprender: ls interfaces entre Musicoterapia y Educacin.


Mrcia Cirigliano
Title in English: When teaching is also learning: the possible relations between Music Therapy and Education. Resmen: Este es um relato de experincias como profesora em Musicoterapia. Buscase actualizar la mirada clnica em clase universitria percibese como es importante que el maestro incentive em sus clases a que los futuros musicoterapeutas conozcan su prpio ritmo y talentos, mientras reciben la formacin acadmica. Abstract: This paper aims to discuss the authors experiences as a pofessor in Music Therapy. Based upon the clinical point of view, it is noticed how important it is to encourage the students to get to know their own rythm and talents while they have their training. Descripcin: El objetivo de este trabajo es ofrecer una posibilidad de discutir las funciones de docente como algo para all de la transmisin del conocimiento La enseanza de la Musicoterapia se hace em doble mano. Aunque sea necesrio transmitir los contenidos acadmicos para la formacin del alumno, este ensea al profesor com la msica de su existencia. Uma vez que se habla de la formacin de terapeutas se pone al maestro la tarea de escuchar e incentivar a que los estudiantes descubran su potencialidad y la desarrollen. Em las disciplinas de tica, Psicologia y Psiquiatria que son de la responsabilidad de esta autora en el curso de formacin de musicoterapeutas em el Conservatrio Brasileiro de Msica, Rio de Janeiro, Brasil, son utilizadas estratgias que permitan al alumno eligir formas de expresion de sus intereses a travs de las produciones orales y escritas como parte de su evaluacin. La escrita se vuelve como punto de dificuldad de la grande parte de los estudiantes universitrios em la realidad brasilea. El echo de tenermos alumnos presentando trabajos em eventos nacionales y incluso inscribiendose para este evento es uma demonstracin de la eficincia del mtodo empleado. El abordaje del psicoanalisis propone la escucha que se transfere a la clase com vistas a reducir las resistencias y hacer de la suposicin de saber um stio confiable para que cada uno , por el valor de su prpia subjetividad, construya su lugar como futuro musicoterapeuta.

Description: This paper discusses the procedures in teaching as something beyond the mere transmission of knowledge. Teaching disciplines of Music Therapy is twofold. On one hand it is necessary to transmit academic contents due to the students training. On the other hand the students themselves teach the professor with the music of their existence. It is the professors task to listen and encourage the students, helping them to find out their potentialities and develop them. Teaching Ethics, Psychology and Psychiatry in the undergraduate program at the Conservatrio Brasileiro de Musica, Rio de Janeiro, Brazil, the author employs some strategies to help the students choose alternatives that may express their own style, through verbal and written expression as part of their evaluation. The written expression turns out to be a challenge for the majority of the brazilian students. The fact of having students participating in national events and recently submmiting their papers to this Congress demonstrates some efficiency in the method the author works with. The psychoanalitic approach applied to classrooms, emphasizes the way of listening, monitoring transference issues and reducing resistence, also encouraging the subjects expression, so that each student has to build up their own profile as a music therapist.

Nombre y datos del autor: Mrcia Cirigliano Psicloga, musicoterapeuta, Master of Music Therapy ( TempleUniversity, USA). Profesora Del Conservatrio Brasileiro de Msica, Rio de Janeiro,Brasil. Contacto: Mrcia Cirigliano Rua Martins Ferreira 15 apt.201 Botafogo Cep:22271-010 Rio de Janeiro - Brasil Telefono: (21) 2538-0261
227 Mini Biografia del presentador: Master of Music Therapy, musicoterapeuta, psicloga clnica, profesora universitaria, traductora y revisora. Presentaciones en eventos nacionales e internacionales, como el curso Canciones del inconsciente (Lima, Peru, Instituto de Psicosalud)

LA ANSIEDAD EN MUJERES EMBARAZADAS QUE CONCURREN A MUSICOTERAPIA


Marsimian, Nuria - Nicola, Mara Dolores - Nuzzi, Mariana - Daz Prez. Magdalena - Cavallo, Mara Elena - Goiheneix. Mercedes - Taube, Carolina - Chiavone, Vernica
Resumen Se presentarn resultados de la investigacin realizada en el Servicio de Obstetricia del Hospital B. Rivadavia, enmarcada en la Concurrencia de Musicoterapia de dicho Hospital, que se lleva a cabo desde Septiembre de 2007. El objetivo de dicha investigacin es determinar si el promedio de ansiedad de mujeres embarazadas, en segundo y tercer trimestre de embarazo, es menor a lo largo del tiempo cuando realizan Musicoterapia. Descripcin El embarazo es considerado una crisis vital y un factor estresante universal. Este perodo crtico conlleva cambios fsicos, psicolgicos, sociales, espirituales y cognitivos. Dentro del aspecto psicolgico, el embarazo es el perodo durante el cual deben realizarse tareas de maduracin emocional que preparan a la mujer para su futuro papel de madre. La ansiedad fue sealada como el problema emocional ms frecuente en las embarazadas que cursan su segundo y tercer trimestre de emberazo. El objetivo de dicha investigacin es determinar si el promedio de ansiedad de mujeres embarazadas, en segundo y tercer trimestre de embarazo, es menor a lo largo del tiempo cuando realizan tratamiento de Musicoterapia, en comparacin con aquellas que no lo han realizado. La investigacin se realiza con una muestra de mujeres mayores de 18 aos, que cursan su segundo y tercer trimestre de embarazo normal, administrndoles un Test de Medicin de Ansiedad en estos dos momentos, en comparacin con un grupo control que no recibe el tratamiento. Nombre y contacto del autor Equipo de Musicoterapia del Hospital B. Rivadavia: - Marsimian, Nuria. Lic. en Musicoterapia. Concurrente Segundo ao. - Nicola, Mara Dolores. Lic. en Musicoterapia. Concurrente Segundo ao. - Nuzzi, Mariana. Lic. en Musicoterapia. Concurrente Segundo ao. - Daz Prez. Magdalena. Lic. en Musicoterapia. Concurrente Primer Ao - Cavallo, Mara Elena. Lic. en Musicoterapia. Concurrente Primer Ao - Goiheneix. Mercedes. Lic. en Musicoterapia. Concurrente Primer Ao - Taube, Carolina. Lic. en Musicoterapia. Concurrente Primer Ao. - Chiavone, Vernica. Lic. en Musicoterapia. Concurrente Primer Ao. Supervisor: Lic. Diego Schapira

Contacto mtrivadavia@yahoo.com.ar

Title of presentation Anxiety in pregnant women under Music Therapy treatment Abstract This research work carried out in the Obstetric Service of Rivadavia Hospital since september 2007, tries to determine the average of anxiety level in pregnant woman under Music Therapy treatment. Description Pregnancy is a vital crisis and a universal stressfull factor which brings about several physical, emocional, congnitive and psicologicall changes. Within the psicologicall aspects emotional tasks must be carried out to prepare the mother for her future role. The anxiety level is one of the most important emocional problems described. This research work is been carried out in the Obstetric Service of Rivadavia Hospital trying to give a cientific aproximation to the benefits of Music Therapy as a psicoprofilactic treatment for pregnancy women. The research is made with a sample of women older than 18 years in the second and third pregnancy term, to whom an anxiety test is administrated, and compared with a control group which isnt under Music Therapy treatment.
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Presenter name(s) and affiliation(s) Equipo de Musicoterapia del Hospital B. Rivadavia: - Marsimian, Nuria. Lic. en Musicoterapia. Concurrente Segundo ao. - Nicola, Mara Dolores. Lic. en Musicoterapia. Concurrente Segundo ao. - Nuzzi, Mariana. Lic. en Musicoterapia. Concurrente Segundo ao. - Daz Prez. Magdalena. Lic. en Musicoterapia. Concurrente Primer Ao - Cavallo, Mara Elena. Lic. en Musicoterapia. Concurrente Primer Ao - Goiheneix. Mercedes. Lic. en Musicoterapia. Concurrente Primer Ao - Taube, Carolina. Lic. en Musicoterapia. Concurrente Primer Ao. - Chiavone, Vernica. Lic. en Musicoterapia. Concurrente Primer Ao. Supervisor: Lic. Diego Schapira Contact information mtrivadavia@yahoo.com.ar

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La Musicoterapia desde un enfoque intercultural


Christina Hgglund - Micaela Mendoza Hagglund -Ana Michel Torres -Beatriz Michel Torres -Cristian Ordoez -Ylunka Quisberth - Emilio Durn -Marco Santilln -Ivn Aparicio
RESUMEN La experiencia de intercambio en el mbito de la musicoterapia entre Bolivia y Suecia logr enriquece el desenvolvimiento individual en los diferentes centros teraputicos y educativos, mediante la apertura a nuevas formas de trabajo a travs de la complementariedad entre el conocimiento cientfico y la experiencia emprica de ambas culturas DESCRIPCION: La presente propuesta de musicoterapia tiene como objetivo principal mostrar la interrelacin entre dos pases (Bolivia y Suecia) de culturas y lenguas dismiles pero unidos a travs de la msica para compartir experiencias tanto tericas y prcticas de su uso y sus beneficios teraputicos alrededor del mundo (desde Europa a Latinoamrica) como una fuente de sanacin universal y ancestral, as como tambin de mediadora y potenciaros de la inclusin entre culturas diversas. Valoramos la riqueza de nuestra propia cultura y las fuentes naturales que tenemos para aprovecharla en el trabajo con nio/as, msica y discapacidad. La experiencia nos impuls adems de seguir trabajando por un incremento de las actividades musicoterapeticas y su divulgacin en proyectos a corto y largo plazo dentro de Bolivia. En el ao 2006 se llev a cabo un proyecto de intercambio entre profesionales que trabajan con la msica como agente teraputico para personas con habilidades diferentes. Grupo de musicoterapeutas Suecos visitaron Bolivia en los centros: anta: nios trabajadores con desventaja social. Kindergarten Municipal nios con habilidades diferentes, trabajan la integracin escolar. Centro Psicopedaggico en su Unidad de Pediatra Infantil y Psiquiatra Infantil. Escuela Msica Simen Roncal . Taller Protegido Sucre: jvenes con habilidades diferentes C.O.M.P.A. ( Comunidad productores en Arte) que trabajan con nios/as en situaciones de marginacin social. (Cochabamba) Bolivianos compartimos experiencia en Suecia en los siguientes centros. El Dorado Centro de Estimulacin multisensorial. Centro para nios inmigrantes. Escuela Municipal de Cultura, que trabaja con jvenes y adultos con problemas de adaptacin. Centro de atencin a nios/as y adolescentes con problemas de autismo dentro el rea escolar y extra curricular

Junto a la explicacin y sistematizacin de la experiencia, se presentarn videos, fotos, paneles, pster, etc. MINI-BIOGRAFA DEL PRESENTADOR O PRESENTADORES: Christina Hgglund, Sueca radicada en Bolivia Profesora de educacin prebsica Licenciada en educacin especial. Especialidad en dificultades en el aprendizaje. Trabaj por ms de 10 aos en el Instituto Psicopedaggico San Juan de Dios de Sucre Micaela Mendoza Hagglund Licenciada en Psicologa egresada ( 2005) modalidad excelencia acadmica. Experiencia laboral con nios/as en el mbito musicoteraputico Comunidad teraputica del Instituto Psicopedaggico (2005) Comunidad de Productores en Artes de Cochabamba (2006) Asociacin Charles de Foucould (2007)

Ana Michel Torres Maestra en Educacin Musical Licenciada en Ciencias de la Educacin Docente de Psicologa Cognitiva Profesora de Expresin Corporal y Estimulacin Musical Temprana de 0 a 6 aos Beatriz Michel Torres Maestra en Educacin Musical Licenciada en Ciencias de la Educacin Profesora de Piano Escuela de Msica Simen Roncal

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Trabaj Kinder Municipal con nios/as con habilidades diferentes. Cristian Ordoez Mdico Cirujano Coordinador del grupo Boliviano-Sueco Trabaja en el Instituto Psicopedaggico San Juan de Dios Ylunka Quisberth Fisioterapeuta Trabaja en el Instituto Psicopedaggico San Juan de Dios Emilio Durn Profesor del Instituto Psicopedaggico San Juan de Dios Marco Santilln Agrnomo Coordinador Centro anta, Instituto que trabaja con nios/as y adolescentes migrantes, en las reas de cultura, msica y apoyo social. Ivn Aparicio Trabaj en el Taller Protegido con nios/as y jvenes con habilidades diferentes

CONTACTO: (nombre, direccin, telfono, fax, e-mail) de una persona solamente. Nombre: Grupo impulsor de la Musicoterapia en Bolivia e-mail: gimusicoterapia@gmail.com fono: 591-4-64- 21131 591-4-64- 51444 fax: 591-4-64-39086 Direccin: Grau 531 Sucre- Bolivia- Sud Amrica

The music therapy from an intercultural focus Abstract: We will show how the experiences from the exchange in the music therapy area between Bolivia and Sweden have enriched the individual growing in each of the involved therapeutic and educational centers. It has been possible to find new forms in the work by completing the scientific knowledge and the empiric experiences from the both cultures. Description: The principal goal of this presentation is to show how the integration between two countries (Bolivia and Sweden) through the music can be the source of inspiration to universal and ancestral healing and also as a mediation and potential link to the inclusion between different cultures throughout the world (from Europe to Latin America). We have shared both theory and practical experiences and have found great benefits. We value the abundance of our own culture and the natural sources we have to make use of them in our work with children, music and disabilities. This experience inspired us to keep working for increasing music therapy activities and its spreading through short and long term projects all over Bolivia. In the year of 2006 we had an exchange project between professionals working with music in therapeutically ways with people with special needs. A group of music therapists visited Bolivia in the following centers in Sucre: anta, children in social disadvantage Community preschool, including children with special needs Centro Psicopedaggico, in its pediatric and psychiatric units Music school Simeon Roncal Taller Protegido, young people with special needs COMPA (Community of Art Producers), children in social disadvantage situations, Cochabamba The Bolivians shared experiences in Sweden in the following centers: El Dorado, Gothenburg, multisensorial center The preschools and the library of Hjllbo, Gothenburg, immigrant children Kulturskolan, Stockholm, adults and young people with behavior disorders Grndals dagcenter, adults with multifunctional impairments Brune srskola, Uppsala, attention of school integrated children and adolescents with autistic problems and mentally retardation. kraskolan, public school, Sala Together with the explications and the systematization of our experiences we will show videos, photos, panels and posters, etc.
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Abordaje musicoteraputico grupal en el tratamiento de pacientes adultos psicticos


Julieta Marina Colagreco - Mara Fernanda Rodrguez
RESUMEN: A partir de este trabajo se corrobora que uno de los objetivos fundamentales que frecuentemente se plantean los musicoterapeutas que trabajan en forma grupal en el tratamiento de pacientes adultos psicticos en instituciones pblicas y privadas ubicadas en la Repblica Argentina es la ruptura del aislamiento caracterstico de la patologa.

DESCRIPCION: El trabajo apunta a describir diversos aspectos respecto del abordaje grupal musicoteraputico en el tratamiento de pacientes adultos psicticos. Se utiliza como instrumento principal de recoleccin de datos la encuesta, destinada a musicoterapeutas que se desempean o se han desempeado como tales en el abordaje grupal con la poblacin antes mencionada, en instituciones pblicas o privadas ubicadas en la Repblica Argentina. A partir de este instrumento se realiza un relevamiento respecto de las tcnicas utilizadas y los objetivos planteados con mayor frecuencia por los mismos. Se utiliza como instrumento complementario de investigacin la entrevista, dirigida a profesionales no musicoterapeutas que coordinan talleres grupales con pacientes de estas caractersticas en el Hospital Interdisciplinario Psicoasistencial Dr. J. T. Borda. Se llega a la conclusin de que el aislamiento es una caracterstica frecuente en psicosis, y que la ruptura de dicho aislamiento es uno de los objetivos fundamentales que se formulan no solo los musicoterapeutas que trabajan en forma grupal con pacientes adultos psicticos, sino tambin otros profesionales de salud mental que trabajan con este tipo de pacientes. Este relevamiento proporciona la posibilidad de reconocer los alcances de la Musicoterapia como disciplina y la importancia de la misma en un trabajo interdisciplinario en el rea de Salud Mental.

NOMBRE Y DATOS DE AUTORES: Julieta Marina Colagreco Musicoterapeuta y Acompaante Teraputica.

Mara Fernanda Rodrguez Musicoterapeuta, especializacin en Psiquiatra, Neuropsicologa y Psicologa Cognitiva.

CONTACTO Nombre: Julieta Marina Colagreco Direccin: Saavedra 1194 7 24 (1229) Capital Federal Buenos Aires Telfono: 4943-3906/ Celular: 155-980-1049 e.mail: elcorreodejulieta@yahoo.com.ar

MINI BIOGRAFIA DE LOS PRESENTADORES: JULIETA MARINA COLAGRECO Musicoterapeuta, UBA. Acompaante Teraputica, REDBA. Estudios de Educacin Musical y Flauta Traversa, Conservatorio Manuel de Falla. Estudiante de Psicologa, UBA. Integrante del Equipo de Musicoterapia del Hospital Borda desde 2005.

MARA FERNANDA RODRGUEZ Musicoterapeuta (USAL). Coordinadora del Equipo de Musicoterapia del Hospital Borda. Docente UBA. Miembro comisin directiva ASAM. Mta. Hospital Francs y Centro de Funciones Cognitivas y enfermedad de Alzheimer, Facultad Medicina (UBA).
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TITLE: A musicotherapeutical approach to the treatment of adult psychotic patients in groups

OVERVIEW: This study shows that one of the fundamental goals frequently established by the musicotherapists working within a group framework in the treatment of adult psychotic patients both in private and public institutions of Argentina is to break through the characteristic isolation the condition entails. DESCRIPTION: This study is a part of Julieta Colagrecos graduation dissertation in Musicotherapy and it aims to describe several of the aspects involved in the musicotherapeutical group approach, in the treatment of adult psychotic patients. The main instrument applied for data gathering is the interview of musicotherapists who are practicing or have practiced as such within a group framework dealing with the aforementioned population in private or public institutions of Argentina. Thus, techniques and objectives most usually employed are relayed. Interviews with professionals outside the field of musicotherapy who work in the coordination of group workshops treating adult psychotic patients in the Hospital Interdisciplinario Psicoasistencial Dr. J. T. Borda also form part of the study as complimentary research tools. The conclusion is reached that isolation is a frequent characteristic to be found in psychosis and to overcome it is one of the main goals established not only by musicotherapists working within a group framework but also by other mental health professionals treating these patients. This survey provides the possibility of recognizing the reach of Musicotherapy as a discipline and its importance in the context of interdisciplinary work in mental healthcare. INFO ON THE AUTHORS: Julieta Marina Colagreco Mara Fernanda Rodrguez CONTACT INFORMATION: Name: Julieta Marina Colagreco Address: Saavedra 1194 7 24 (1229) Capital Federal Buenos Aires Phone: 4943-3906/ Mobile: 155-980-1049 e-mail: elcorreodejulieta@yahoo.com.ar

233

Aportes del Abordaje Plurimodal (APM) al campo de la educacin


Sol Fernndez - Rita Florencia Ccerez - Elina Hernndez.
Resumen: Se realizar la presentacin de tres investigaciones de campo en el rea de la musicoterapia en prevencin y promocin de la salud, realizadas a partir de distintas experiencias en el mbito educativo. Las experiencias analizadas fueron realizadas con diferentes grupos de adolescentes, pertenecientes zonas con alto nivel de NBI (necesidades bsicas insatisfechas) de la provincia de Buenos Aires. Teniendo como marco terico referencial El abordaje Plurimodal en Musicoterapia, se intentar dar cuenta de tres procesos en musicoterapia en los cuales distintas estrategias e intervenciones posibilitaron experiencias de escucha y participacin social, fortaleciendo su identidad.

Descripcin: Se realizar la presentacin de tres investigaciones de campo en el rea de la musicoterapia en prevencin realizadas a partir de distintas experiencias en el mbito educativo. Las experiencias analizadas fueron realizadas con diferentes grupos de adolescentes, pertenecientes a zonas con alto nivel de NBI (necesidades bsicas insatisfechas) de la provincia de Buenos Aires. Teniendo como marco terico referencial El Abordaje Plurimodal en Musicoterapia, se intentar dar cuenta de tres procesos en musicoterapia. La utilizacin del trabajo con canciones, el uso selectivo de msica editada y el trabajo con improvisaciones musicales teraputicas, sern empleados en dichas investigaciones como ejes centrales para el anlisis de las experiencias musicales utilizadas. Teniendo como objetivos centrales generar experiencias de escucha y participacin colectiva, se intentar dar cuenta, como las mismas fortalecieron los ncleos de salud de los grupos investigados, influyendo en la conformacin y resignificacin de su identidad individual y social. Nombre y apellido del autor/es: Sol Fernndez. Musicoterapeuta UBA Rita Florencia Ccerez Musicoterapeuta UBA Elina Hernndez. Estudiante de musicoterapia UBA (perodo de aprobacin de tesis)

Contacto: Rita Florencia Ccerez Uriarte 3153 Boulogne Buenos Aires 4765-7283 / 156474-1234 florenciacacerez@yahoo.com.ar Mini Biografa de los presentadores: Sol Fernndez:. Musicoterapeuta clnica, egresada de la Universidad de Buenos Aires. Formacin en Abordaje Plurimodal en Musicoterapia, en el programa ADIM. Rita Florencia Ccerez: Musicoterapeuta egresada de la Universidad de Buenos Aires. Formacin en Abordaje Plurimodal en Musicoterapia, en el programa ADIM. Elina Hernndez Estudiante de Musicoterapia en instancia de tesina (UBA). Formacin en Abordaje Plurimodal en Musicoterapia, en el programa ADIM.

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Music Therapy for the development of individual and collective creative processes.
Eugenia Emmer
Abstract: The work analyses aspects of Music Therapy applied to the development of individual and collective creative processes starting in the Music Therapy experience carried out in the Art Faculty of the National University of Cuyo with musicians from the Department of Popular Music Bachelorship. Description: Starting from the experience carried out during the Attachment Course of the Assembling I Department (Ensamble I) o the Popular Music Bachelorship career, National University of Cuyo, an interest born to contribute to the development of the individual and collective processes and thus a workshop of Applied Music Therapy to the artistic musical development: Live the Music is also created. Here groups of musicians-students participate as a complementary optional proposal of the course. As part of the project a research is done with combined quantum-qualitative methodology that provided a questionnaire for musicians given at the beginning of the work and also a inventory of evaluated achievements of the objectives of the workshop done during and at the end of the workshop. The search of musical identity of those who choose to be musicians, the capacity of perception and listening, the body register, the emotions and the thoughts; the capacity to be moved and to move, the fluency states and non fluency in the musical making. The fears, the source of confidence and dreadful scenes. The psychological components that help or obstructs the creative process. The improvisation as exploring, discovery and integration possibility. The group like a challenge-limit and opportunity of growingare some of the topics dealt with and approached on the theory-practice field in this workshop of Music Therapy. The work shows a synthesis of this experience emphasizing conceptual aspects and it shows stories resulting from the practice with information obtained from performed evaluations and it shares new questions and project in this area. Author: Eugenia Emmer. Music Therapy-Bachelor Buenos Aires University, Popular Music Performer, orientation in Piano (Avellaneda Popular School of Music) Address: Los Aromos 1952, casa 2. C.P.5505. Lujn de Cuyo. Mendoza. -Phone number: 0261-496 1481 -Personal phone number: 0261-156681965 -E-mail: eugeniaemmer@yahoo.com.ar Eugenia Emmer: Lic. en Musicoterapia-U.B.A. Instrumentista en Msica Popular- Escuela de Msica Popular de Avellaneda Postgrado: Abordaje Plurimodal de Musicoterapia- U.B.A

Residente en Mendoza desde el ao 2005, actualmente realiza Talleres de Musicoterapia en promocin de la salud, trabaja en el mbito privado como musicoterapeuta de nios y adultos; y como adscripta a la ctedra de Ensamble I -Lic. en Msica Popular de la Facultad de Artes de la Universidad Nacional de Cuyo, trabaja e investiga en el rea de Musicoterapia para msicos

Ttulo: Musicoterapia aplicada al desarrollo de los procesos creativos individuales y colectivos. Resumen: El trabajo analiza aspectos de la Musicoterapia aplicada al desarrollo de los procesos creativos individuales y colectivos a partir de la experiencia Musicoteraputica realizada en el marco de la Facultad de Artes de la Universidad Nacional de Cuyo-Mendoza- con msicos que estudian la Licenciatura en Msica Popular. Descripcin: A partir de la experiencia durante la Adscripcin a la Ctedra de Ensamble I de la Lic. en Msica Popular (Universidad Nacional de CuyoMendoza), surge la inquietud de contribuir al desarrollo de los procesos creativos individuales y colectivos, y se implementa el Taller de Musicoterapia aplicada al desarrollo artstico musical: Vivir la msica, en el que se trabaja con grupos de msicos-estudiantes, que 235 participan de este espacio como propuesta optativa y complementaria de la ctedra.

Como parte del proyecto, se realiza una investigacin con metodologa combinada cuanti-cualitativa, que contempl un cuestionario para msicos, administrado al inicio del trabajo y un Inventario de seguimiento de evaluacin de logro de los objetivos del Taller de Musicoterapia, administrado durante y al final del Taller. La bsqueda de la identidad musical por parte de quienes eligen ser msicos. La capacidad de percepcin y escucha. El registro del cuerpo, las emociones y los pensamientos. La capacidad de con-moverse. Los estados de fluidez y no fluidez en el hacer musical. Los miedos, la fuente de confianza y las escenas temidas. Los componentes psquicos que contribuyen u obstaculizan el proceso creativo. La improvisacin como posibilidad de exploracin, descubrimiento e integracin. El grupo como desafo-limite y oportunidad de crecimiento son algunas de las temticas abordadas en lo terico-prctico en este Taller de Musicoterapia. El trabajo presenta una sntesis de esta experiencia destacando aspectos conceptuales, exponiendo relatos emergentes de la prctica, mostrando informacin obtenida de evaluaciones realizadas y compartiendo nuevas preguntas y proyectos en esta rea. Autora: Eugenia Emmer. Licenciada en Musicoterapia-U.B.A., Instrumentista en Msica Popular-Especialidad: Piano (Escuela de Msica Popular de Avellaneda). Contacto: Besares 610, casa 5. C.P.5505. Lujn de Cuyo. Mendoza. Telfono: 0261-496 1887 Celular: 0261-6681965 eugeniaemmer@yahoo.com.ar

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Taller de musicoterapia para familias y alumnos. Desarrollo, anlisis y evaluacin.


Mercedes Garca Hurtado
M usic Therapy Workshop for families and students. Development, analysis and evaluation. Resumen/ Abstract: Este trabajo se encuadra dentro de la investigacin e intervencin de musicoterapia preventivo-social. Fue desarrollado a modo de taller con los padres y alumnos de un IES. Se recogen los fundamentos tericos que avalan la intervencin, los procesos de desarrollo teraputico, el anlisis y evaluacin de las sesiones y unas concusiones finales. This paper is inside the research and intervention of preventive-social Music Therapy preventive-social. Its developed to way of workshop with the parents and students of a Secundary School. It reflects the theoretical foundations that support the intervention, therapeutic development processes, analysis and evaluation sessions and same concussions. Descripcin/Description: Este trabajo se encuadra dentro de la intervencin e investigacin musicoteraputica preventivo-social. El taller se llev a cabo con algunas familias y alumnos de un centro de Educacin Secundaria de Madrid. En origen, el trabajo fue articulado en tres partes. La primera, terica y generalista; la segunda centrada en el trabajo de intervencin y en el anlisis de los resultados; y en la tercera se recoge el proyecto entregado y aprobado por la institucin. Lo que aqu se presenta corresponde con la segunda parte, es decir, con la hiptesis de partida, los objetivos propuestos, el trabajo de desarrollo, anlisis y evaluacin de las sesiones as como las conclusiones finales. La finalidad del taller fue fortalecer los factores protectores y de resiliencia de los asistentes; ampliar los procesos de comunicacin para la resolucin de conflictos familiares y personales; desarrollar capacidades de expresin, creacin y escucha; fomentar la autoestima y el autoconocimiento; disminuir los estados de estrs y tensin e impulsar el trabajo cooperativo para el enriquecimiento de las relaciones familiares. Para ello se pusieron en marcha diferentes recursos musicoteraputicos como el movimiento corporal, la voz, las improvisaciones sonoras, la sonodramatizacin, tcnicas receptivas y la palabra hablada. El resultado fue una intervencin globalizadora fruto del encuentro de las perspectivas de diferentes modelos musicoteraputicos. Para el anlisis y la evaluacin de las sesiones se confeccionaron unas fichas de seguimiento y al mismo tiempo se llev a cabo un estudio de las improvisaciones sonoras realizadas, as como de las manifestaciones verbales emitidas por los participantes, que tras el proceso sonoro se fueron viendo incrementadas. Al concluir el taller se esbozaron unas conclusiones finales que vinieron a confirmar la hiptesis de partida.

This paper is inside the research and intervention of preventive-social Music Therapy. It was developed with some families and students of a secondary schools, in Madrid. The paper consists of three parts. The first, theoretical and general, the second focused on intervention and work in analysing the results, and the third is collected the project approved by the institution. what I am going to present here corresponds with the second part. that is, the hyphotesis and objectives initially proposed, the development work, analysis and evaluation sessions and the final conclusions. The purpose of the workshop was: strengthen the protective factors and resilience of the patients; expand communication processes to resolve family and personal conflicts; develop the expression, creation and heard; promote self-esteem and self-knowledge; reduce the states of stress and tension; and motivate cooperative work for the enrichment of family relationships. So different resources were used as body movement, voice, improvisation sound, dramatization sound, techniques receptive and spoken word. The result was a holistic intervention result of the meeting of the prospects for different music therapeutic models. For the analysis and evaluation of the sessions I created datasheets and I did a study of noise improvisations performed. Also I was attentive to verbal expressions of patients that were increased after the the sound process. At the end of the workshop I wrote some final conclusions that came to confirm the hypothesis. Nombre y datos del autor: Mercedes Garca Hurtado Contacto: Mercedes Garca Hurtado C/ Isabel Ana, 22 Bj-A C. P. 28019 Madrid Tels. 914710014 / 619807778 Mail: mghinf@Yahoo.es Mini Biografia del presentador: Trabaja como profesora de msica en IES y como musicoterapeuta con personas con discapacidad (TEA y TGD). Ha realizado talleres de musicoterapia para docentes y familias. Ha escrito algn artculo sobre musicoterapia y sobre minimalismo en Espaa

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Musicoterapia y Alzheimer. Investigacin en colaboracin con Residencias de Mayores de Madrid.


Isabel Luansky
Resumen: El presente trabajo de investigacin describe la intervencin de un equipo profesional interdisciplinario en el tratamiento de pacientes que padecen la enfermedad de Alzheimer y sus resultados preliminares como aporte teraputico a la clnica. Descripcin: Para la investigacin se han llevado a cabo sesiones de Musicoterapia de 90 minutos cada una con dos grupos de pacientes leves y moderados que padecen la enfermedad de Alzheimer. En los protocolos se han incluido datos clnicos previos, durante y posteriores a cada una de las sesiones de Musicoterapia. Dichos datos fueron aportados por el equipo mdico y de enfermera del Centro Alzheimer Getafe de Madrid. Los datos clnicos tomados para la muestra fueron ritmo cardaco, tensin arterial, sueo, alimentacin, conducta, estado emocional, memoria, lenguaje y comunicacin. La evaluacin posterior a cada sesin fue realizada en equipo interdisciplinario integrado por mdicos, psiclogos y musicoterapeutas. Durante el desarrollo de las sesiones se han utilizado estrategias de Musicoterapia conducentes a estudiar los cambios producidos por dicha intervencin. Los materiales utilizados fueron instrumentos de pequea percusin ejecutados por los pacientes, en su caso por acompaantes y familiares de los mismos y miembros del equipo sanitario del Centro. El equipo de musicoterapeutas utiliz instrumentos meldicos, la voz, el movimiento corporal, la danza y msica grabada. Autora: Licda. Isabel Luansky. Musicoterapeuta Datos de contacto: Avda. del Brasil, 30 esc.3, 10A, 28020 Madrid- Tel.: +34 91 555 4346- Mvil: +34 699 801 785 E-mail: secretaria@musitando.org Biografa: Graduada en la Universidad del Salvador de Buenos Aires, Directora de MUSITANDO Espaa-Argentina, ha ofrecido conferencias y workshops en Amrica, Europa, Medio y Lejano Oriente. Psicoanalista, bioenergetista, cantante, pintora.

238

Modes of subjetivation in Music therapy


Marly Chagas
Abstract: The main purpose of this thesis is to explore some relations between music and modes of subjectivation in a music therapy clinic, using the theoretical reference proposed by Gilles Deleuze and Flix Guattari as a principal basis of support. Description: This thesis departs from the hypothesis that it is possible to comprehend the issue of subjectivity as a derivative of the affections afforded through music to, therefore, show evidence of the fertility of such an understanding in a clinic that is based around music: the clinic in music therapy. It proposes to discuss the concept of subjectivity from two main directions: as production, and as configuration of collective agencies. This work proposes itself as a theoretical conceptual research, consummated in the form of an essay, also including a case in the music therapy clinic with the exclusive aim of casting a different light upon the proposed relationships. The plan of the thesis was established in such a way that an explanation of concepts arising from the work of Deleuze and Guattari specifically, the concepts of the enunciation agencies, ritornello, rhizome and art and, accordingly, the articulation of each of these concepts with the production of subjectivity in music therapy clinic.In conclusion, the importance of this reference in the music therapy clinic is debated, as much in heuristic terms as with respect to the political production that it is capable of stimulating. Keywords: production of subjectivity, music, music therapy BIBLIOGRAPHY DELEUZE. G. Espinosa, filosofia prtica. So Paulo: Escuta, 2002. 135p. DELEUZE, G.; GUATTARI, F. Mil Plats. Capitalismo e Esquizofrenia. Rio de Janeiro: Ed. 34, vol. 1,2,3,45, 1995;1996;1997. O que a Filosofia? Rio de Janeiro: Ed 34, 1992. 288 p . GUATTARI. Cartographies schizoanalitiques. Paris: ditions Galile, 1989. 331p. CHAGAS, M. Processos de subjetivao na musica e na clnica em musicoterapia. Tese de doutorado. UFRJ, Programa EICOS Rio de Janeiro, 2007

Presenter name and affiliation: Marly Chagas; Brasil: Conservatrio Brasileiro de Msica; Associao de Musicoterapia do Estado do Rio de Janeiro. Contact information: Marly Chagas Rua Prof. Ortiz Monteiro, 220/101 Laranjeiras CEP 22245 100 Rio de Janeiro RJ- Brasil. Fax: 55(21) 25567087 e-mail: marlychagas@alternex.com.br Mini biography: Graduated in Psychology and Music Therapy. Master and Doctor in Psycosociology of Communities and Social Ecology. Professor in the undergraduate and post-graduated; Current President of AMTRJ; Current President of CLAM.

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AUTISMO Y PSICOSIS INFANTIL: CONVOCANDO AL NIO A TRAVS DE LA MUSICOTERAPIA


Carmen Lcia de Vasconcelos
RESUMEN Una experiencia institucional con nios con autismo y psicosis infantil. Com una mirada en la comprensin de las manifestaciones de sufrimiento psquico en la infancia y una escucha clnica atravesada por la cancin, la musicoterapia convoca al nio a organizacin de una subjetividad, posibilitando el venir-a-ser de esos pequeos sujetos. DESCRIPCIN DEL TRABAJO Este trabajo muestra la experiencia de una prctica clnica en musicoterapia con autismo y psicosis infantil en un CAPS . Seala la posibilidad de una escucha ampliada de las manifestaciones de sufrimiento en la infancia, propiciando al nio encontrar, en sus expresiones musicales, un lugar en la subjetividad. La musicoterapia en la clnica del autismo es considerada tomando el universo sonoro como posibilidad de convocatoria del nio en su singularidad. En una relacin intermediada por la cancin, ruidos y gestos sonoros se constituyen en un recurso privilegiado en la convocatoria de esos pequeos-sujetos, donde es posible la ampliacin de los campos simblicos, pudiendo tambin servir de continente para cros que no se organizan en el lenguaje verbal. Propiciando una posicn del nio para ms all de la condicin de un lugar de imposibilidades, les oferta significantes sonoros que permiten una comunicacin que sobrepasa el campo de la palavra hablada, teniendo en la cancin, instrumentos preciosos que apuntan para un venir-a-ser pleno de sentidos, baado de representaciones, atravesado por el material sonoro. La cancin, siendo capaz de convocar lo infantil en el nio, lo vuelve sujeto de su propio discurso frente al sufrimiento psquico, baa de sentidos gestos y expresiones, ampliando campos de inters y favoreciendo el reconocimiento del sujeto en sus relaciones con el otro y con la posicin que ocupa en la trama familiar, social y cultural. El CAPS CEMPI ofrece la musicoterapia en atenciones individuales y talleres sonoros, en los que tambin se privilegia la circulacin social fuera del mbito institucional, generando espacios de produccin, pensamiento y cultura, desarrollando competencias en el nios y promoviendo una inclusin social. La creacin de espacios de escucha del sufrimiento psquico, pone en accin un sujeto de posibilidades, permeada por saberes que se articulan en la compreensin de la clnica del autismo.

Autora: Carmen Lcia de Vasconcelos Direccin: Av. Presidente Kennedy, 6127 Apto. 301 Candeias Jaboato dos Guararapes Pernambuco Brasil Telfono: (81) 3469.2787 (81) 9113.8977 Fax: (81) 3241.5794 e-mails: carmenlucia.vasconcelos@gmail.com; carmenlvasconcelos@hotmail.com

Mini Biografia del presentador: Formacin acadmica: Psicloga clnica; Pedagoga; Experta em Psicologia clnica; Experta em Musicoterapia; Formacin tcnica en Cacin/instrumento Datos de la autora Miembro del equipo teraputico del CAPS CEMPI; Actividad clinica autonmica em Psicoterapia y Musicoterapia; Coordinadora de proyectos, consultora tcnica y asesora de la ONG Tempo de Crescer, con apoyo UNICEF/Recife/PE/Brasil

Title: AUTISM AND CHILDISH PSYCHOSIS: CALLING THE CHILDREN THOUGHT THE MUSIC THERAPY Authoress: Carmen Lcia de Vasconcelos Address: Presidente Kennedy avenue, # 6127, apartment 301, Candeias - Jaboato dos Guararapes - Pernambuco - Brasil Telephone: (81) 3361.4798/9113.8977 Fax (81) 3241.5794 e-mails: carmenlucia.vasconcelos@gmail.com and carmenlvasconcelos@hotmail.com

RESUME International experience with children that have autism and childish psychosis. With care, about the comprehension of the psychic suffering demonstration in childish and a large clinic work with music, Music Therapy, invites the children with their own peculiarity, offers significant sounds for the organization of a subjectivity, making possible a transformation in these little human being lives. DESCRIPTION This work brings an experience about the clinic practices in a public institution a childish CAPS, in the city of Recife Pernambuco, Brazil. It shows a great comprehensiveness about the expression of suffering demonstration in childish, letting the children, to find, in their 240 music productions, a place in the subjectivity. In the autism practices, Music Therapy is considered by getting the sounds as a possibility to call the children in their particularities.

The relationship intermediated by the music, noises, sounds and moves builds up a privileged resource in the convene of these little human being, amplifying their symbolic representation area, serving also the children that can not get together in their verbal language. All these make a great option of possibilities, offering significant sounds that permit the childrens expression, having in the music, precious instruments that point to full senses in their way of lives, with a lot of representation, calling the childish of the children, making them able to pass through a psychic suffering, making larger their area of interest, by their personal, social and cultural development. The childish CAPS - CEMPI offers Music Therapy in their individual clinic procedures, where it also makes possible their development out of the institution. The creation of these kinds of areas puts in action a lot of possibilities for the autism and the childish psychosis.

CAPS Psychosocial Attention Center Brazilian public areas for mental treatment. CEMPI Childish Psycho Pedagogic Medical Center Childish CAPS in the city of Recife, in the state of Pernambuco, Brazil, with a specialized team, reference in the Northeast area in the treatment from children between 0 to 12 years old with psychic risk situation and/or with signs and symptoms of the autism and childish psychosis.

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Visual Quality of Life in Optic Neuritis: A Neurologic Music Therapy Approach.


Cybelle Loureiro - Marco Aurlio Lana-Peixoto - M.D., Luciano M. Simo - Carolina R. Arajo - Lvia Talim - Gilmara Teixeira.
Summary: Research literature on music therapy involving optic neuropathies could not be found on MEDLINE, LILACS and SciELO data banks. This research project aims at investigating the effects of Neurologic Music Therapy (NMT) intervention on visual quality of life of patients with demyelinating optic neuritis. Background: Demyelinating optic neuritis (DON) results from an immune regulation disturbance that can occur either as an isolated condition or in association with other autoimmune disorders. DON is characterized by sub-acute visual loss followed by recovery of the visual functions usually assessed by ophthalmologists. Visual quality of life, however, refers to subjective perception from patients of their own visual limitations on daily activities. The applicability of music therapy in neurological disorders of the human nervous system is based on the Rational-Scientific Mediating Model. The theoretical foundations of this model derive from acquired knowledge in the fields of musical psychology, physiology and neurology and parallel models of nonmusical brain and behavior sciences. Objective: The aim of this study is to investigate the effects of NMT intervention on the visual quality of life of optic neuritis patients. Methods: The cohort comprises 40 patients with DON evaluated at the Research Center on Multiple Sclerosis (CIEM) of the Federal University of Minas Gerais in Belo Horizonte, Brazil. Participants presented DNO at least six months prior to the onset of the study either as an isolated clinical syndrome or in the course of the multiple sclerosis. Patients (age ranging from 15 to 40 years) were divided into a treated and a control group. Visual quality of life has been assessed by the National Eye Institute Visual Function Questionnaire 25 Item Version. The employed NMT intervention is based upon patterned sensory enhancement, musical neglect training and musical attention control training. Patients have been assessed by the NEI-VFQ-25 Questionnaire 3, 6, 9 and 12 months following the onset of the intervention and the results will be compared. Conclusion: Preliminary data from the present study are still insufficient to provide information on the effects of NMT on visual quality of life of patients with DON.

Mt. MA, Cybelle Loureiro, M.D., Marco Aurlio Lana-Peixoto, M.D., Luciano M. Simo, M.D., Carolina R. Arajo, Pt, Lvia Talim, Pt, Gilmara Teixeira. Cybelle Loureiro: School of Music Federal University of Minas Gerais (UFMG). Doctoral Program in Neuro-Ophthalmology, School of Medicine UFMG. cybelle@musica.ufmg.com.br Cybelle Loureiro: Graduation in Music Therapy at the University of Iowa. Master's degree in Music at the School of Music, UFMG. Doctoral Student at the School of Medicine UFMG, Department of Neuro- Ophthalmology.

Calidad de Vida Visual en la Neuritis ptica: Una abordagem en Musicoterapia Neurolgica. Mt. MA, Cybelle Loureiro, M.D., Marco Aurlio Lana-Peixoto, M.D., Luciano M. Simo, M.D., Carolina R. Arajo, Pt, Lvia Talim, Pt, Gilmara Teixeira. Cybelle Loureiro: Escuela de Msica de la Universidad Federal de Minas Gerais (UFMG). Programa de Dotorado en Oftalmologia Neurolgica de la Facultad de Medicina UFMG. Sumario: La literatura de investigacin sobre la Musicoterapia que involucraba neuropatias pticas no fuera encontrado en los bancos de datos (MEDLINE, LILACS, SciELO). Este proyecto tiene por objetivo investigar los efectos de la musicoterapia neurolgica Neurologic Music Therapy (NMT) en la calidad de vida visual de pacientes con neuritis ptica desmielinizante. Background: Neuritis ptica desmielinizante (NOD) resulta de un disturbio de regulacin inmunolgica que puede ocurrir como una condicin aislada o en asociacin con los otros trastornos autoimmunes. NOD es caracterizada por el dficit visual subagudo seguido de recuperacin de las funciones visuales generalmente abalizadas por oftalmlogos. La calidad de vida visual, sin embargo, se refiere a la percepcin subjetiva de los pacientes de sus propias limitaciones visuales en las actividades diarias. La aplicabilidad de la musicoterapia en los trastornos neurolgicos del sistema nervioso humano esta basada en el modelo Rational-Scientific Mediating Model. Los fundamentos tericos de este modelo derivan de conocimientos adquiridos en los campos242 psicologa, fisiologa y neurologa musical y sus modelos paralelos de non musicales de las ciencias del cerebro y comportamiento. Objetivo: Investigar los efectos de la intervencin de la NMT en la calidad de vida visual de pacientes con histricos de neuritis ptica.

Mtodo: El coorte es compuesto de 48 pacientes con NOD valorado en el Centro de Investigacin en Esclerose Mltipla (CIEM) de la Universidad Federal de Minas Gerais en Belo Horizonte, Brasil. Todos los participantes presentaran NOD por pelo menos seis meses antes del inicio del estudio como una sndrome clnica aislada o en el transcurso de la esclerose mltipla. Los pacientes (edad mediana entre 15 a 40 aos) fueran alocados en uno grupo de tratamiento y uno grupo controle. La calidad de vida visual ha sido abalizada a travs del cuestionario de funcin visual National Eye Institute Visual Function Questionnaire 25 Item Version (NEI-VFQ-25) a cada 3, 6, 9 e 12 meses despus del inicio de la intervencin y los resultados sern comparados. La intervencin NMT empleada estn embasadas en las tcnicas Patterned Sensory Enhancement (PSE), Musical Neglect Training (MNT) and Musical Attention Control Training (MACT). Conclusin: Los datos preliminares del estudio actual todava son insuficientes para inferir la informacin sobre los efectos de NMT en la calidad de vida visual de pacientes con NOD.

Contact information: Rua: Primeiro de Maio, 145. Casa 11. Bairro: Nacional. Cidade: Contagem. Minas Gerais, MG. 30185-660 Tel: (31) 33972209. Cel: 88292209. e-mail: cybelle.loureiro@oi.com.br

243

La atencin a la diversidad en la escuela: escuchar diferente a los mismos nios


Alfonsina Basutto
Resumen: El programa Voces en Movimiento integra prcticas educativas alternativas con el aporte especfico de la musicoterapia, basndose en el valor salugnico de las creaciones grupales. La inclusin de un dispositivo preventivo dentro de la escuela inaugura un lugar donde escuchar a los nios es una opcin habilitadora, atenta y esperanzada. Descripcin: La atencin a la diversidad frecuentemente se evidencia en las adaptaciones curriculares, cuando no queda en una mera declaracin de deseos. Voces en movimiento es un programa preventivo que se desarrolla en escuelas comunes de la ciudad de Esperanza y zona rural aledaa. Iniciado como una iniciativa privada, actualmente es solicitado por docentes y directivos y financiado por la Municipalidad. El objetivo de este trabajo es exponer la etapa diagnstica del programa, en donde procedimientos disciplinares especficos evidenciaron tendencias tales como aislamiento, impulsividad, vulnerabilidad psicosocial, entre otras. El mtodo principal es la entrevista individual o en pequeo grupo, y los procedimientos son producciones sonoras espontneas y referenciales, trabajo con canciones, rimas y coplas, juegos corporales y sonoros. Luego de los encuentros iniciales se programan un numero definido de talleres expresivos, con actividades planificadas previamente y otras que se van modificando segn el devenir de cada grupo. Los talleres incluyen la expresin musical, corporal y grfica en forma alternada y la posterior charla con los nios y docente sobre lo acontecido. Algunos talleres son filmados y analizados por los mismos nios, como registro del proceso. En el desarrollo del trabajo se evidenciarn los indicadores tenidos en cuenta para la evaluacin y en qu propuestas concretas de trabajo derivaron. Para ello se prev la audicin de fragmentos de improvisaciones y la observacin de videos. A modo de conclusiones podemos afirmar: El concepto de modalidades de enlace result de gran utilidad en la observacin de nios en edad escolar. El anlisis de las improvisaciones individuales y grupales nos permiti indagar tendencias saludables y de vulnerabilidad psicosocial en los nios que las producen. La inclusin de un dispositivo preventivo dentro de la institucin escolar instaur un espacio especfico en donde escuchar a los nios es una opcin habilitadora, atenta y esperanzada. Autora: Alfonsina Basutto, Licenciada en Musicoterapia Contacto: Alfonsina Basutto, Rivadavia 3529. Esperanza (Santa Fe, Argentina) +54 3496 421257 mtalfonsina@yahoo.com.ar Mini Biografia: Licenciada en Musicoterapia. Profesora de Nivel Inicial. Trabajo clnico en salud mental y discapacidad. Coordina proyectos preventivos en escuelas (NI y EGB). Coautora del libro Musica y Psiquismo, Ediciones ICMus, 2006.

244

PERSONALITY IN MUSIC THERAPY THE CONSTRUCTION OF A CONCEPT.


Meire Antoniassi Noronha (et all)
Resmen: This study is the result of a group production whose concept was the construction of a Personality concept in a Music Therapy context. Through group reflections, experiences and experimentations, it was concluded that Personality is the expression of our essence, which is unique and undergoing a permanent reorganization process. Descripcin: The present study is the result of a group experimentation process which occurred in the classroom during the course The Psychology of Personality, with students who were majoring in Music Therapy from the Faculdade Paulista de Artes, in So Paulo, Brazil. Based on a bibliographical analysis, more than seventy definitions for the concept of Personality were found. This led to various inquiries, which originated in the proposal of the construction of a concept created in a Music Therapy context. With this objective, the study group was constituted and questionings related to the influences on the construction of Personality emerged, such as: a) genetics; b) culture; c) roles and masks; d) instincts; e) arquetypes; f) shadow; g) personality types; h) traits; i) spirituality. A research-action, the adopted method, was done through thematic though not directive groups, through experience groups in search of the liberation of spontaneity and through individual and group creative potential. Initially the studies resulted in figurative illustrations that registered comprehensions of Personality as a sponge that absorbs whatever passes through her, without altering her essence; Personality as a crystal, which is lapidated but whose essence remains; Personality as clay, which can be molded, but if modified is still clay, just in another shape. By the end of the study the group, divergent in terms of the form and processes of Personality development, concluded it shares the comprehension that we are an essence that, produced by the fusion of a wide variety of aspects, appears as new material. Personality, then, revealed itself in this investigation as a singular expression of our essence, which differs in terms of our experimentations, in a continuous configuration process a personal organization and reorganization of the varied aspects that constitute us. Nombre y datos del autor o autores: Meire Antoniassi Noronha (et all): Allana Gomes Costa Morais Ana Paula Romero Ana Walewska Pina Monteiro Andr Pereira Lindenberg Andr Vasconcelos Balboni Angelita Sorlando Lima Diana Raquel Cunha de Sousa Diogo Rodrigues dos Santos Geraldo Maria Orlando Filho Gildasio Januario de Souza Kelly Fae Xavier Lilian Ribeiro de Moura Mauren Vasconcelos de Sousa Almeida Meire Antoniassi Noronha Pedro Alexander Barbosa Nunez Priscila Paiva dos Santos Rafael de Oliveira Lima Raphael Soares Rodrigo Dias de Paiva Rogrio Jos de Souza Carla Maria Proena Tatiana Ramalho Silva Contacto: maestra Ftima Ali Zahra, direccin Rua Prof. Joo Marinho 151, CEP So Paulo - Brasil. telfono e fax (011) 30.515894, e-mail: fatiz@uol.com.br. PERSONALIDAD EN MUSICOTERAPIA - LA CONSTRUCCIN DE UN CONCEPTO A PARTIR DE PONDERACIONES Y VIVENCIAS DE UN GRUPO.

RESUMEN:
245

Este estudio es resultado de una produccin grupal que tuvo como propuesta la construccin de un concepto de Personalidad realizado en un contexto de Musicoterapia. Por medio de ponderaciones, vivencias y experimentaciones grupales, se concluy que Personalidad es la

expresin de nuestra esencia, que es nica y en permanente proceso de reorganizacin. ******* El presente trabajo es resultado de un proceso de experimentacin grupal realizado en sala de clase en la disciplina Psicologa de la Personalidad, con alumnos de lo=licenciatura en Musicoterapia en la Facultad Paulista de Artes, en So Paulo - Brasil. A partir de una revisin bibliogrfica se encontraron ms de setenta definiciones para el concepto de Personalidad, lo que suscit variados cuestionamientos, dando origen a la propuesta de construccin de un concepto creado en un contexto de Musicoterapia. Con ese objetivo, el grupo de trabajo se constituy y emergieron indagaciones relativas a las influencias sobre la constitucin de la Personalidad, como: a) gentica; b) cultura; c) roles y mscaras; d) instintos; e) arquetipos; f) sombra; g) tipos de personalidad h) trazos; i) espiritualidad. La investigacin-accin, mtodo adoptado, fue realizada por medio de grupos temticos, sin embargo no directivos y grupos vivenciales buscando la liberacin de la espontaneidad y del potencial creativo individual y grupal. Inicialmente los trabajos resultaron en ilustraciones figurativas que registraron comprensiones de la Personalidad como una esponja que absorbe lo que por ella pasa, sin alterar su esencia; la Personalidad como un cristal lapidado, pero cuya esencia permanece; la arcilla, moldeable, pero que modificada permanece arcilla, apenas en otro formato. Al fin de los trabajos el grupo, con divergencias con relacin a la forma y a los procesos de desarrollo de la Personalidad, concluy que comparte con la comprensin de que somos esencia que, producida por la fusin de una gama variada de aspectos, surge como material nuevo. Personalidad as, se revel, en esta investigacin, como la singular expresin de nuestra esencia, diferenciada por nuestras experimentaciones, en un continuo proceso de configuracin-organizacin y reorganizacin personal de los variados aspectos que nos constituyen.

246

Atencin Psicossocial: Factor de la ayuda a pacientes esquizofrnicos en Musicoterapia


Cristiane Faria Xavier
Palabra-clave: Musicoterapia, Salud Mental, Drogadico y Ayuda Psicossocial. Resumen Este trabajo discute la ncessidade del soporte familiar en trminos de la estructura esquizofrnica, asociados con el uso de drogas. Con la investigacin exploratria y la presentacin de caso clnico, los temas como la vida en familia y la msica funk en la ciudad de Rio de Janeiro son discutidos. Descripcin La historia de la esquizofrenia se presenta en textos hindes y griegos de siglos antes de Cristo. Sin embargo, hoy es vistano solamente como enfermedad, sino como un grupo de factores patologicos, alcanzando a todas las clases sociales y grupos humanos. Segn la teora del Psicoanlisis (SPANUDIS, 1954)1, algunas formas de psicosis se pueden tratar analticamente, ensenando como el desarrolo de la psicosis se envolucracon traumas durante la primera infancia (desarrollo del ego). La Musicoterapia, en cuanto complemento al tratamiento, puede contribuir para la salud de estos pacientes, por dos razones: primero, por la intervencin clnica con la msica, que constituye un acercamiento teraputico considerando los lmites del paciente. En segundo lugar, se ocupa de aspectos clnicos que no se consideran siempre en metodos teraputicos convencionales. Esta dinmica, permite optimizar la intervencin clnica de otros profesionales de salud, consiguiendo mejor aceptacin de los pacientes, secndolos de la ociosidad (SIC). La autora, concluyendo sus estudios en Musicoterapia, con supervisiones y discusiones en equipo multidisciplinar, ilustra, con ejemplo de la clnica, la importancia de considerar a la familia como elemento bsico en el proceso teraputico. Sern discutidos aspectos de la relacin teraputica a travs del funk como lenguage musical que no sea parte del gusto personal de los musicoterapistas. Tambin se menciona la relacin teraputica a travs de los instrumentos musicales, usados como objetos intermediarios, as como el aspecto social teraputico de la esquizofrenia, asociada a la drogadiccin en Ro de Janeiro, Brasil, articulndose a los temas: patologa y drogas. Por medio de las descripciones antedichas, uno percibe cunto necesitan los asuntos como la familia, el elemento social y preferencias musicales ser comtemplados como puntos e imprescindibles para el xito de la prctica de la Musicoterapia y tambin para pronsticos mejores y de menos permanencia en internaciones. Cristiane Faria Xavier Acadmico del ao 3 en Musicoterapia Conservatrio Brasileiro de Msica de Rio de Janeiro - Centro de la Universidad AV. Sernambetiba, N 3360, Bl. 05, Apt 1401 Barra da Tijuca Rio de Janeiro RJ Telfono: 021 - 2434-7336/9887-7808 e-mail: crisfx@yahoo.com.br Mini biography of presenter: Supervised periods of training: Mental deficiency and Psychiatry. Presented works: XIII State Forum of Music therapy, Rio de Janeiro (June/2007); VII International Congress of Stress, Porto Alegre, Brazil (June/2007) Psychosocial support in Music Therapy with schizophrenia patients Key-Words: Music Therapy, Mental Health, Drug addiction, Psychosocial support. Abstract The present paper aims to demonstrate the need of family support when dealing with schizophrenia structure, associated to the abusive use of drugs. Through literature review and case study themes, such as family context and funk music in the city of Rio De Janeiro, Brazil are applied. Description The history of the schizophrenia is registered in Hindu and Greek texts of centuries before Christ. However, today its faced not only as illness, but as a group of factors in pathology, reaching all the social classes and human groups. According to psychoanalysis theory (SPANUDIS, 1954)1, psychosis can be treated analytically, searching to show the psychotic development as having bond with traumas during infancy (ego development). Music Therapy can contribute to improve health of these patients. This situation is possible for two reasons: first, is the clinical intervention through music, which constitutes a non-intrusion therapeutical approach. Secondly, it deals with clinical aspects, which are not always considered in conventional therapeutical interventions. This dynamics, allow to optimize the clinical intervention of others Health professionals, getting better acceptance from the patients, taking them off helplessness (SIC). The author, concluding her graduation in Music Therapy, through supervisions and discussions in multidiscipline team, illustrate, with example of clinical attendance, the importance of considering the family as basic element in the therapeutical process. 247 It is boarded aspects of the therapeutical relation through funk as musical language that is not part of the music therapists personal taste. Its also mentioned the therapeutical relation through musical instruments, used as intermediate objects, as well as the therapeutical social

aspect of schizophrenia, the drugged addiction born in Rio de Janeiro, Brazil, articulating itself to topics: pathology and drugs. By means of the above descriptions, one perceives how much topics as family, social element and musical preferences need to be contemplated as integrant and indispensable parts for the success of the Music Therapy practice for better prognostics and less lasting permanence in internments. Mini biography of presenter: Supervised periods of training: Mental deficiency and Psychiatry. Presented works: XIII State Forum of Music therapy, Rio de Janeiro (June/2007); VII International Congress of Stress, Porto Alegre, Brazil (June/2007). Cristiane Faria Xavier Academic of 3 grade in Music Therapy Conservatrio Brasileiro de Msica do Rio de Janeiro - Centro Universitrio AV. Sernambetiba, N 3360, Bl. 05, Apt 1401 Barra da Tijuca Rio de Janeiro RJ, Brazil Tel.:55 021 - 2434-7336/9887-7808 e-mail: crisfx@yahoo.com.br

248

Componiendo y afinando el volverse Musicoterapeuta.


SHEILA VOLPI - MARCIA MARIA MENIM
Resumen: Desafos en la construccin del papel de musicoterapeuta en los das de hoy, bajo el enfoque de la transdisciplinaridad y de la complejidad frente al inmediatismo y pragmatismo vigente. Descripcin: Las autoras en su prctica pedaggica de ms de quince aos, se han visto frente a algunas dificultades en relacin a la delicadeza, a sutilezas y paradojas en la construccin del papel del terapeuta, y especialmente del musicoterapeuta. Siendo as, este trabajo un debate sobre la Formacin del Musiucoterapeuta, dentro de una perspectiva Transdisciplinar y Compleja, teniendo como puntos principales de discusin: -Qu es Ser Terapeuta en los das actuales? Qu exigencias tiene este papel? -Cmo este Ser Terapeuta asume la msica, su principal instrumento, para volverse un musicoterapeuta? -Cmo desarrollar un contemplar al otro (paciente) en un mundo que da preferencia al inmediatismo y a las relaciones superficiales? -Cual es la necesidad de entender el contexto (social, cultural, biolgico, psicolgico y espiritual) en el que estn el musicoterapeuta y el cliente? El fundamento terico est basado en autores con una perspectiva humanista-existencial como: R. Hycner, M. Buber, C. Feldman. Los principales autores relacionados con una visin transdisciplinar son: B. Nicolescu, U. DAmbrosio, P. Weil. Dentro de la perspectiva de Complejidad, el principal autor es Edgar Morin. Zygmunt Bauman es el autor consultado para un anlisis ms amplia de las relaciones humanas en la sociedad posmoderna. Todos estos autores contribuiran para una reflexin sobre el individuo que sufre y el profesional que interacta con l, partiendo de un nuevo paradigma Formacin Acadmica: SHEILA VOLPI MARCIA MARIA MENIM Contacto: Marcia Maria Menim Avenida Repblica Argentina, 452 conj.1008. Cdigo Postal 80.240-210 Curitiba-Paran, Brasil. Tel: 55 41 3023-5160 marciammenim@hotmail.com mmenim@uol.com.br Formacin Acadmica: SHEILA VOLPI Graduacin en Musicoterapia en la Facultad de Educacin Musical de Paran, actual Facultad de Artes de Paran. Maestra en Educacin por la Pontificia Universidad Catlica de Paran. Especialista en Psicodrama Pedaggico por la Sociedad Paranaense de Psicodrama. MARCIA MARIA MENIM Graduacin en Psicologa en la Pontificia Universidad Catlica de Paran. Especialista en Psicodrama Teraputico por la Sociedad Paranaense de Psicodrama y Psicologa Analtica por la Pontificia Universidad Catlica de Paran. Mini-Biografa: SHEILA VOLPI Profesora y Supervisora en el curso de Graduacin en Musicoterapia, en la Facultad de Artes de Paran. Experiencia clnica en el rea de Salud Mental, Menores en situacin de Riesgo Social y Menores Infractores. MARCIA MARIA MENIM Profesora de Psicologa en el curso de Graduacin en Musicoterapia, en la Facultad de Artes de Paran. Actuacin como Psicoterapeuta desde 1980 y experiencia en grupos de Psicologa Organizacional con la modalidad de Videoreflexin

TITLE Composing and tuning the becoming of a Musictherapist SUMMARY The challenges in the construction of the role of a musictherapist n9 24 owadays, in the light of transdisciplinarity and complexity in face of the immediatism and pragmatism in effect.

DESCRIPTION The authors, having worked for more than 15 years in their pedagogical practice, have been facing some dificulties related to refinement, subtlenesses and paradoxes regarding to the formation the therapists role, specially the one of the musictherapist. So, having in mind those concerns, this presentation (brainwork) has the purpose of debating about the Formation of the Musictherapist, within a transdisciplinary and complex perspective, having as main points of discussion: What is Being a therapist in the present days? What demands does this role requires? How does this Being a therapist takes hold of his/her vital instrument, the music, in order to become a musictherapist? How is it possible a way to look to the other patient in a world that privileges immediatism and superficial relantionships. Whats the necessity of understanding the contex (social, cultural, bylogical, psychological and spiritual) in which are inserted musictherapist and clent? The theoretical fundamentation is based in authores with a existal-humanist perspective, such as R. Hycner, M. Buber, C. Feldman. As for the transdisciplinary view, the main authors are B. Nicolescu, U. DAmbrosio, P. Weil. In the perspective of complexity the main authore is Edgar Morin and Zygmunt Bauman is the author who helps the comprehension and exams the human relation in a more bradden way, in the pot-modern society. These are the authores who support , from a new paradigm, to think about the person/patient who suffers and about the Professional who interacts with him.

ACADEMIC BACKGROUND SHEILA VOLPI MARCIA MARIA MENIM CONTACT Marcia Maria Menim Av. Repblica Argentina, 452, conj. 1008 CEP 80.240-210 Curitiba-PR Brasil Fone: 55 41 3023-5160 marciammenim@hormail.com mmenim@uol.com.br

250

MUSICAL VISITS: A THERAPEUTIC STRATEGY ON HOSPITAL CONTEXT


Leila Brito Bergold - Neide Aparecida Titonelli Alvim
Abstract: This study discussed the musical visits and its implications as therapeutic strategy for hospital humanization. Qualitative research. Methodology: Creative-Sensitive Method. The subjects were hospitalized clients that discussed the positive influence of musical visits on promote well-being, autonomy through respect for their personal musical style and integration at hospital environment. Key words: Music Therapy. Nursing. Therapeutic Music. Hospital humanization. Description: This study discussed the musical visits from the optics of the hospitalized client and its implications as therapeutic strategy for hospital humanization. The questions were the influence of therapeutic music on hospitalized clients that participated of musical visits, realized for musicians coordinated for a music therapist/nurse, and the implications of this visits for the hospital context. The aims of this research were: to describe hospitalized clients conceptions on musical visitations shared with the group; to analyze the importance of these visitations as a therapeutic strategy in the hospital context. The theoretical basis used on this study was Jean Watsons humanistic theory of nursing care and the approach of Even Ruud about music and identity. It was a study of qualitative nature and the Creative-Sensitive Method was used. Three types of Body-Musical dynamics were performed in the production of research data. The subjects were clients admitted in an Orthopedic Medical Clinic at a military hospital in Rio de Janeiro. The subjects discussed the positive influence of musical visits on promote comfort, well-being and expression of emotions that promoted their integrity and also the rescue of their autonomy through respect for their personal musical style and stimulus for the creation of self resources. The subjects also pointed the quality of integration of the visits when stimulating communication and interaction between the participants and between those and the nursing staff enhancing the discussion on its implications for hospital humanization. LAS VISITAS MUSICALES: UNA ESTRATEGIA TERAPUTICA EN EL CONTEXTO HOSPITALARIO. Resumen: Este estudio discuti la visita musical como estrategia teraputica para la humanizacin hospitalario. Investigacin cualitativa. Mtodo Creativo y Sensible. Los sujetos fueron clientes internados que discutieron la influencia de las visitas musicales en promover bienestar, autonoma obtenida a travs del respeto por su estilo musical y integracin al ambiente hospitalario. Palabras claves: Musicoterapia; Enfermera; Msica teraputica; Humanizacin del ambiente hospitalario. Descripcin: Este estudio tuvo como objetivo analizar las visitas musicales bajo la ptica de clientes hospitalizados y discutir su importancia como estrategia teraputica para la humanizacin del ambiente hospitalario. Las cuestiones se relacionaban con la influencia de la msica teraputica en clientes hospitalizados que participaban de las visitas musicales, realizada por msicos coordinados por una msico terapeuta/enfermera y las consecuencias de estas visitas para el contexto hospitalario. Los objetivos de las investigaciones fueron: describir las concepciones de los clientes hospitalizados acerca de las visitas musicales compartidas en discusin grupal y analizar la importancia de las mismas como una estrategia teraputica en el contexto hospitalario. La base terica utilizada en este estudio fue la Teora humanstica de los cuidados de enfermera de Jean Watson y el abordaje sobre msica e identidad de Even Ruud. Fue un estudio de naturaleza cualitativa con utilizacin del Mtodo Creativo y Sensible. Fueron realizadas tres dinmicas corpo musical en la produccin de los datos de investigacin. Los sujetos fueron clientes internados en una Clnica Ortopdica en un hospital militar de la ciudad de Ro de Janeiro, Brasil. Los sujetos discutieron sobre la influencia positiva de las visitas musicales, estimulando el confort, el bienestar y la expresin de emociones que promovieron su integridad. Por otra parte, discutieron acerca del rescate de la autonoma obtenida a travs del respeto por su estilo musical relacionado a la posibilidad de optar por las msicas en el momento de las visitas, adems del estmulo a la creacin de recursos personales que aumentaron su autoestima. Los sujetos tambin sealaron la calidad integradora de las visitas al incentivar la comunicacin e interaccin entre los participantes y entre estos y el equipo de enfermera, mostrando su contribucin para la humanizacin del ambiente hospitalario.

Leila Brito Bergold Neide Aparecida Titonelli Alvim

CONTACT: Leila Brito Bergold, Av. Rui Barbosa n 20, apt. 1001. Tel: (021) 25510167 Fax: (021) 25510167 251 E-mail: leilabergold@terra.com.br

La funcin de la Musicoterapia en la comunidad teraputica de pacientes psiquitricos


Mara Vidal Moro
Resumen: El trabajo se propone realizar una descripcin de la funcin de la Musicoterapia en la comunidad teraputica del Servicio de Psiquiatra de un hospital privado de la Ciudad Autnoma de Buenos Aires, Argentina. En el desarrollo del escrito se contemplan objetivos, procedimientos, resultados del proceso musicoteraputico en la comunidad, as como tambin los aportes que realiza la Musicoterapia al equipo interdisciplinario dentro del cual se inserta. Descripcin: El marco terico en el cual se basa el desarrollo del trabajo es el Abordaje Plurimodal en Musicoterapia. Musicoterapia es una de las terapias grupales que se llevan a cabo en la Comunidad Teraputica del Servicio de Psiquiatra de un hospital privado de la Ciudad Autnoma de Buenos Aires, Argentina. Junto con terapia ocupacional, psicoterapia grupal, psicodrama, taller literario, taller de lectura de diarios y cine debate forma parte del tratamiento que se ofrece en dicha comunidad. Los pacientes que conforman la poblacin de la comunidad teraputica son adultos, diagnosticados con psicosis o trastornos severos de la personalidad. El objetivo principal de toda la comunidad es el de socializacin. La Musicoterapia comparte dicho objetivo, pasando a ser el objetivo general del proceso musicoteraputico. En el transcurso de dicho proceso los pacientes van desplegando su ser en la msica. Por medio de la transferencia musicoteraputica y de los vnculos que van entablando los pacientes entre s se van poniendo de manifiesto las maneras de vincularse propias de cada individuo. Debido a las patologas que presentan, los pacientes manifiestan importantes conflictos en relacin a lo interpersonal. Por medio de los diferentes procedimientos planteados por el Abordaje Plurimodal, seleccionados por la musicoterapeuta en base a cada momento del proceso grupal, se van trabajando los vnculos tomando como eje principal lo intermusical. La musicoterapia realiza aportes especficos al equipo interdisciplinario desde su propio campo de accin. Contacto: Mara Vidal Moro Direccin: Laprida 1051 7 B Telfono: 4963-0596 Celular: 15-5928-9566 E-mail: mvidalmoro@yahoo.com.ar

Biografa: Mara Vidal Moro. Musicoterapeuta UBA. 2005 Hospital Borda Adultos, psicosis crnicas 2006 PROA Nios y adolescentes TGD Instituto de la Flor Adultos, discapacidad 2007 Hospital Italiano Servicio de Psiquiatra Adultos, psicosis, trastornos de la personalidad Docente UBA Title: The function of the Music Therapy in the therapeutic community of psychiatric patients Summary The work proposes to realize a description of the function of the Music Therapy in the therapeutic community of the Psychiatry Service of the Hospital Italiano, deprived hospital of the Autonomous City of Buenos Aires, Argentina. In the development of the writing there are contemplated aims, procedures ensued from the Music Therapy process in the community, as well as also the contributions that the Music Therapy realizes to the interdisciplinary team inside which insert. Description The theoretical frame on which the development of the work is based is the Abordaje Plurimodal en Musicoterapia (Boarding Plurimodal in Music Therapy). Music Therapy is one of the therapies that are carried out in the Therapeutic Community of the Psychiatry Service of the Hospital Italiano, deprived hospital of the Autonomous City of Buenos Aires, Argentina. With occupational therapy, grupal psychotherapy, psychodrama, literary workshop, workshop of reading diary and cinema debate, Music Therapy forms a part of the treatment that offers in the above mentioned community The patients are adult, diagnosed with psychosis or severe disorders of the personality. The principal aim of the whole community is that of socialization. The Music Therapy shares that aim. In the course of the above mentioned process, the patients are opening their being in the music, including their ways to relate interpersonally. The patients demonstrate important conflicts in relation to the interpersonal thing. By means of the different procedures raised by the Abordaje Plurimodal, selected by the music therapist on the basis of every moment of the grupal process, they are working the links taking the intermusical thing as a principal axis. 252 The Music Therapy realizes specific contributions to the interdisciplinary team from her own field of action.

Contact: Mara Vidal Moro. Email: mvidalmoro@yahoo.com.ar Telephone: 54(11)4963-0596 Cellular telephone: 54(9)11-5928-9566

253

LA MSICA COMO PREPARACIN AL NACIMIENTO DE LA MADRE


Ana Maria Loureiro de Souza Delabary
Resumen Una reflexin sobre en empleo de musicoterapia con encintas, tiene las actividades musicales desarrolladas articuladas con la psiquiatria, en lo que se refire a la transparencia psquica vivida por la mujer en este periodo.El estudio muestra la importancia de la msica en la construccin de su condicin materna. Descriptin Dentro un abordaje grupal ocurre un trabajo clnico de musicoterapia dirigido a las encintas. El programa y se halla en su dcimo ao de implementacin y se pasa dentro una institucin universitaria privada. Desde su incepcin, las diversas actividades, situaciones y actuaciones relacionadas a la integracin de las encintas con la msica hay suscitado diferentes miradas sobre el largo material que ya le fu aportado. En el presente estudio, las acciones musicales desarrolladas y el quehacer musical de las mujeres, sujetas a la musicoterapia durante su gestacin, parto y post-parto son observados y articulados con algunos de los aspectos de la teora de Bydlowski, la cual -- sequencialmente a los estudios empezados por Winnicott y continuados por autores como Cramer, Stern y Lebovici -instituye para ese delicado periodo de la vida de la mujer el concepto de transparencia psquica. El anlisis y la reflexin realizadas bajo este enfoque muestran la prctica clnica de la musicoterapia en la que valoran la prevencin, en perfecta sintonia con la dimensin actual de la psiquiatria perinatal. Los cuidados necesarios en esta fase vivida por la mujer, la cual es, a solo tiempo, una era de conflicto y de maturacin, pueden ser enriquecidos por el proceso musicoterpico. Sobre la vivencia en esta prctica clnica se relatan situaciones que evidencian la importancia de la integracin de eses dos campos de la salud. Al complementarse, los dos se hacen capables de comprender y alumbrar su caminada en una significativa colaboracin para la preparacin y el fortalecimiento de la estrutura de la dade madre-beb. La msica -- por las condiciones de su propia naturealeza -- apoyada por la psicopatologia, protege el proceso de alumbrar un hijo, porque hace con que , mejor preparada y confidente, nazca tambin una madre. Nombre y datos del autor: Ana Maria Loureiro de Souza Delabary. Graduacin en Msica, URCAMP, Bag,RS. Posgrado en Musicoterapia,CBM, RJ.Mster en Educacin, PUC,RS. Curso de perfeccionamiento en Psycopatologia del Beb, Paris XIII, Francia. Contacto: Ana Maria Delabary. Direccin:Luis Mrcio Teixeira, 1619. Bag, RS, Brasil CEP 96 400-140 Telefono: 53 32424212 Fax: 53 3242 3362 E-mail: flsd@alternet.com.br

THE MUSIC AS A PREPARATION TO THE MOTHER'S BIRTH ABSTRACT This is a reflexion about the employment of music therapy with pregnant women and refers to the musical activities developed with them in conjunction with psychiatrical care as related to the psychic transparency lived by women throughout this period. The study shows the importance of music for the building of the motherly condition. SYNOPSIS Within a group approach a pregnant-women-oriented clinical music therapy activity is being developed. The program is already in its tenth year since first implementation and is deployed in the facilities of a private college institution. Since its inception, the several activities, situations, and proceedings related to the integration of pregnant women and music has brought out different viewpoints upon the large set of materials already collected. In the present study, the musical actions developed along the musical dealings of those women that were subjected to music therapy during their pregnancy, parturition, and post-parturition are observed and articulated with some aspects of Bydlowski's Theory, which -- in sequence to those studies started by Winnicott and followed up by authors like Cramer, Stern, and Lebovici -- introduces into this delicate period of a woman's life the psychic transparency concept. The analysis and reflexions developed under this focus show the clinical practice of music therapy in the way it most values prevention, on perfect tuning to the current dimension adopted by perinatal psychiatry. The necessary care given during this phase women have to live through, at the same time a conflict and a maturation period, can be enriched by the music therapeutical process. About the experience on this clinical practice situations are described that cast light upon the importance of the integration between these two fields within the health care area. Being complementary, both show themselves able to understand and enlighten the pregnant women's walk by a significant colaboration for the preparation and strengthening of the mother-baby dyadic structure. Music -- for those conditions presented by it own nature -- supported by psychopathology, protects the process of giving birth to a child, because it makes that, better prepared and self-trusting, a mother be also 254 born. Name and information about the author:

Ana Maria Loureiro de Souza Delabary, a Music Graduate by URCAMP, Bag, RS, Post-graduate on Music Therapy, CBM, RJ, M. Sc. on Education, PUC, RS, also followed a Baby Psychopathology progression course, Paris XIII University, France. Contacts: Ana Maria Delabary #1619, Luis Mrcio Teixeira Street 96400-140 Bag, RS Brazil Phone #53 3242-4212 Fax #53 3242-3362 e-mail flsd@alternet.com.br

255

Musicotherapy and communication prelinguistics in multiple deficient deafblind


Orlene Queila de Oliveira
Summary: We intended to present an experience music therapeutic accomplished in ADEFAV (Association of Deficient of the Deaf Blind), where we assisted students bearers of deficiency multiple deafblind that possess difficulties in communicating, the proposed work had as objective facilitates the process of the stages prelinguistics contributing like this to the opening of new communication channels and education learning. Description: Through a done visit ADEFAV in 2003, accompanied a physiotherapy session with a student deafblind, who possessed contact difficulties, for the employees of this institution her did not demonstrate any communicative action from her entrance to the treatment. The music therapist put her on a wood stage and it began to beat 2 quavers with the hands on the stage following by a pause, after 5 attempts, the student answered making the same, with this experience we began to cogitate the importance of the music therapy in this institution, because we noticed that in the cases in that the student doesn't allow the touch the music can assume that paper. The institution approaches Van Djik's methodology, where the adult should enter in the child's world, being attentive to each communicative interaction; developing an I dialogue non-verbal, using the students' movements, with the objective of developing a communication prelinguistics, we verified the existent similarity here between its methodology and the Music centered where that I assumed homelike adult's paper is the music. However, just in the year of 2007 we got a patronage of the city hall of So Paulo, through the Special Talents Projects, where we assisted 2 weekly hours, about 11 students from 4 to 17 years. With elapsing of the services we noticed that the music can facilitate the 5 phases of the communication prelinguistics, starting from the triangle Carpente & Brandalise, the music can welcome the student, creating the necessary bond (nutrition-lap); the music and the patient's music turn the into of the therapeutic atmosphere (resonance - to involve); the patient's music begins to seek contact with the music of the music therapist (no-representative reference), the patient's musicality begins expanding (co-activity - side by side), the music and the patient's music introduces new communication forms (imitation - face to face). Presenter name: Orlene Queila de Oliveira Contact information: Name: Orlene Queila de Oliveira Address: Cabralia, 40 Jd. Bela Vista Guarulhos/SP Brasil cep 07132-440 Telephone/fax: (51-11) 6405-5777 Email: mt_queila@yahoo.com.br Mini Biography of presenters: Graduate in music therapy for FPA (Faculdade Paulista de Artes), specialist in Intervention in Neuropediatric for UFSCAR (Universidade Federal de So Carlos), and teacher of the music therapy in FPA MUSICOTERAPIA Y COMUNICACIN PRELINGISTICA EN DEFICIENTES MULTIPLO SORDO-CIEGOS RESUMEN: Pretendemos presentar una experiencia msico teraputica realizada en ADEFAV (Asociacin de Deficientes de Audio Visin),donde atendemos alumnos portadores de deficiencia mltiple sordo ciegos que tienen dificultad en comunicarse, el trabajo propuesto tuvo como objetivo facilitar el proceso de las etapas prelinguisticas contribuyendo as para la apertura de nuevos canales de comunicacin y aprendizaje educacional. DESCRIPCION: Despus de haber hecho una visita a ADEFAV en 2003,acompaamos una sesin de fisioterapia con una alumna sordo ciega, que tenia dificultades de contato,para los funcionarios de esa institucin ella no demostr ningn acto de comunicacin desde su ingreso al tratamiento.La music terapeuta le puso sobre una mesa de madera y empez a batir 2 colcheas con las manos sobre el tablado seguida de una pausa, despus de 5 tentativas, la alumna respondi haciendo lo mismo, con esta experiencia empezamos a preguntarnos la importancia de la musico terapia en esta instituio, nos dimos cuenta que en los casos en que el alumno no permite el toque la msica puede asumir ese papel. La institucin aborda la metodologa de Van Djik,donde el adulto debe entrar en el mundo del nio,estando atento a cada interaccin comunicativa por mas obvia y vaga que sea;desenvolviendo un dilogo no verbal,utilizando el movimiento de los alunnos,con el objetivo de desenvolver una comunicacin pr- lingstica,vemos aqu la semejanza existente entre su metodologa y el msico-centramiento donde el que asume el papel de adulto acogedor es la msica. Por lo tanto solamente en el ao de 2007 logramos un patrocinio de la Prefectura de So Paulo,atraves del Proyecto Talentos Especiais, 256 donde atendemos 2 horas semanales, cerca de 11 alumnos de 4 a 17 aos. Con lo que atendamos nos dimos cuenta que la msica puede facilitar las 5 fases de la comunicacin pr-lingsticas, a partir do triangulo

Carpente & Brandalise, la msica puede acoger al aluno, criando un vnculo necesario (nutricin-colo); a msica y la msica del paciente se vuelve una dentro del ambiente teraputico (resonancia envolver); la msica del paciente empieza a buscar contacto con la msica del music terapeuta (referencia no-representativa), la musicalidad del paciente empieza a expandirse (co-atividade - lado a lado), la msica y la msica del paciente introduce nuevas formas de comunicacin (imitacin frente a frente). Nombre Queila de Oliveira, graduada en musicoterapia em FPA (Faculdad Paulista de Artes), especialista en Intervenion em Neuropediatria por la UFSCAR (Universidad Federal de So Carlos), professora acadmica da FPA. El languaje oficial: Portugus - Brasil Nome: Orlene Queila de Oliveira Direccin: R Cabralia, 40 Jd Bela Vista Guarulhos/SP Brasil cep 07132440 Telefono 51-11- 64055777 e 51-11-89280341 Email: mt_queila@yahoo.com.br e queila10@yahoo.com.br

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Music therapy and the young autistic person: the use of music therapy with an autistic client approaching young adult life.
Peter Whelan
Abstract This MPhil Research Project is a qualitative single-case study exploring a young autistic persons experience of music therapy when making the transition into adult life. As a music therapist working with people with autism, I began to wonder about this major transition, which involves physical, emotional, psychological, and social change. I wondered about its impact on the music relationship and the therapeutic process. Through a single case study design, the project involves an exploration of the nature of the music therapy relationship. Description It becomes apparent that this involves a number of processes: this project focuses on the relationship between the music therapy relationship and the transition into young adult life. Understanding this reciprocal relationship as a researcher becomes crucial to understanding the nature and development of the music therapy relationship. From this, the role of music therapy for the young person in transition becomes apparent. The link between these reciprocal relationships showed identifiable mutual reciprocal patterns influencing each other. This understanding formed through microanalysis of video material from three stages of the therapeutic process, alongside the analysis of the clinical and supervision notes of each stage of the therapeutic process. The nature of each stage of the therapeutic process is examined from four perspectives: subjective reflection of the therapy experience (T1); objective advice from the clinical supervisor viewing the video material at that time (T2); new musical analysis of the video material in the present (R1). Finally, when this microanalysis is completed, each stage of the music therapy relationship juxtaposed with one another yields an impression of the therapeutic process through macro analysis (R2). This supports insight into the relationship between the nature of this music therapy process and the developmental process of becoming a young adult with autism from the perspectives of developmental psychology, psychodynamic theory, and social construct theory. A marriage forms around music as a multiple phenomenon, its multiple meanings, music therapy theory, psychodynamic, psychological and social construct theory; this is then applied to data made up of music, clinical and supervision notes. This approach to the data highlights multiple interpretations about the condition autism, the stage of life often referred to as adolescence and music therapy with autistic people. From the meanings derived from the data analysis, the influence of theory when making interpretations shows how interpretations constructed at that time stand up to scrutiny through new analysis. Are they still valid today? The conclusions from the research propose that music can be a transitional experience, a vital psychological component in human development, binding two people in a shared process of mutual involvement and development. It can form a music therapy process that has musical, emotional and therapeutic states or selves, and that process mirrors and reflects the stage of life of the two people within it. The role of music therapy as support for the developing young adult with autism becomes apparent when understood in the context of the multiple processes influencing one another. The conclusions from the research suggest that the process of regression and merging are vital aspects necessary in both music therapy and transitional development. Presenter Peter Whelan has recently completed an MPhil research project in Music therapy and the young person with autism at University of West England with Dr. Bunt and Dr. Daykin. He works in the largest special school in the United Kingdom with a wide range of pupils with special needs aged 3 to 19 years old. He also has a private practice and works for the clinic for Dissociative Studies.

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La cancin de cuna como posible experiencia constitutiva de la identidad.


Veronica Lopez Chiavone
Resumen: Considerando la Matriz Sonora (concepcin de Mary Priestley) como uno de los principales fundamentos Tericos del Abordaje Plurimodal el trabajo intenta establecer cual es el rol de la cancin de cuna en la construccin de la identidad, en los primeros aos de vida de un sujeto. Descripcin: Considerando que uno de los principales fundamentos tericos del Abordaje Plurimodal en Musicoterapia, establece que el inconsciente se apoya sobre una matriz sonora, la cual est constituida como lenguaje de sonidos y elementos musicales, el presente trabajo, intentar establecer, cual es el rol de la cancin de cuna en la construccin de la identidad, en los primeros aos de vida de un sujeto. Destacando el valor de la familia como primera institucin generadora de identidad, se realizo una experiencia de campo intentando delinear algunos de los usos y funciones que la familia otorga a dicha experiencia musical. El trabajo de campo estuvo basado en encuestas y se realizado en el Hospital Dr. Juan P. Garraham (Buenos Aires Argentina) en el ao 2006 en forma annima y voluntaria a padres y/o madres de bebes entre cero y doce meses de edad. Luego de esta experiencia se investig con el objetivo de determinar si las canciones de cuna, como una de las primeras experiencias de interaccin entre el beb y sus figuras parentales, influyen en la constitucin de su identidad, mediante la revisin de publicaciones referidas a: la msica y la identidad, la familia, la gnesis de las funciones musicales y la cancin de cuna. En el poster se expondrn los resultados y conclusiones de estas dos experiencias, presentando una conclusin final que se desprende de dicho anlisis, en la cual se intentar arribar a posibles supuestos que enriquezcan las inferencias tericas antes mencionadas. Nombre y datos del autor: Vernica Chiavone Lpez Musicoterapeuta en Prevencin de Salud Perodo de elaboracin de tesis de Licenciatura en Musicoterapia en la Universidad del Salvador Contacto: Mail: vchiavone@gmail.com En Maldonado, Uruguay: Tel: 00 598 42 48 48 15 Cel: 00 598 98 88 73 54 En Buenos Aires, Argentina: Tel: 4375 2337 Cel: 15 5866 1295 Mini Biografa del Autor: Formada en el Abordaje Plurimodal en Musicoterapia. Es concurrente de Musicoterapia del Hospital de A. B. Rivadavia. Trabaja como Musicoterapeuta en Maldonado, Uruguay y Buenos Aires, Argentina, en diferentes instituciones.

Ttle of presentation: The lullaby experience as possible constituent of identity. Abstract: Considering the Matrix Sonora (conception of Mary Priestley) as a major theoretical foundations of multimodal approach work tries to establish what is the role of lullaby in the construction of identity in the early years of a subject. Description: One of the major theoretical foundations of a Plurimodal Approach stipulates that the unconscious is based on a matrix sound. The matrix sound is acting as a language of sounds and musical elements. This work will try to establish what is the role of lullaby in the construction of identity in the early years of a subject. Stressing the value of the family as first institution generating identity, it made a field work trying to delineate some of the uses and functions that the family gives lullaby. The field work was based on surveys and conducted at the Hospital Dr. John P. Garraham (Buenos Aires - Argentina) in 2006 in an anonymous and voluntary basis to parents and / or mothers of babies between zero and twelve months old. After this experience will be investigated to determine whether the lullabies, as one of the early experiences of interaction between the baby and their parental figures, influence the formation of their identity, through the revision of publications relating to: music and identity, family, the genesis of the musical functions and lullaby. The poster will describe the findings and conclusions of both exper9 25 iences, presenting a final conclusion that emerges from this analysis, which seek to arrive at possible constructs that enrich the theoretical inferences above.

Presenter name(s) and affiliation(s): Veronica Lopez Chiavone Lic. In Music Therapy Musicoterapist and Coordinator of the Programme's ADIM-Maldonado, Uruguay

Contact information: Mail: vchiavone@gmail.com In Maldonado, Uruguay: Tel: 0059842 48 48 15 Cell: 0059898 88 73 54 In Buenos Aires, Argentina: Cel: 15 5866 1295

260

NECESIDAD DE INVESTIGACIN Y TEORIAS EN MT


ALFREDO RUBEN AMATO
Presentacin Los campos e incumbencias disciplinarias, se van conformando mediante investigaciones, teoras que surgen de su prctica. . La MT enfrenta un incipiente marco de investigaciones a fondo y teoras que permitan un cono- cimiento ms acabado de su incumbencia, no slo con lo teraputico, sino ms all de las sesiones del consultorio.

Desarrollo El campo de una determinada actividad disciplinar, cientfica o formal, va recortndose e identifi- cndose travs de los distintos momentos en que ese campo se enriquece mediante investigaciones a las que se llegan, por medio de teoras que van surgiendo ante nuevos interrogantes planteados por investigaciones anteriores, entendiendo por teora, un conocimiento especulativo independiente de aplicaciones o una serie de leyes que relacionan un orden de fenmenos. Las posibilidades de investigacin en MT muy poco exploradas, pasan por la interpretacin de la Incidencia de los parmetros del sonido, sobre la conducta humana y concibiendo la actividad, tambin, fuera del consultorio. En varias experiencias con preadolescentes, adolescentes y adultos, por parte del autor y su equipo, Se enumeraron parmetros que hilvanaban el discurso sonoro. Luego se individualiz el parmetro sobresaliente y finalmente se lleg a la instancia de interpretar el por qu surga una meloda acompa ada, una heterofona, una polifona vertical, juegos con timbres y alturas, en lugar de otras. Los resultados de acuerdo a cada grupo, fueron variadsimas. A partir se gener esta postura, aqu expuesta. La MT fuera del consultorio tambin es MT y debe considerarse como promocin de bienestar. Qu movilidad emocional genera la ejecucin y/o eleccin de un instrumento musical? Cul es el lmite entre lo emocional, lo educacional y lo teraputico? Qu experiment emocionalmente Chopin, traduciendo angustia e impotencia en una maravilla como el ESTUDIO REVOLUCIONARIO? Qu significa un ritmo libre o uniforme, en un determinado grupo o paciente, con una textura mondica o polifnica? Qu genera el ritmo autoritario, montono, esquemtico de composiciones actuales? Acaso, el no comprometerse con la realidad? Afirman contradicciones que caracterizan al ser humano? La MT requiere teoras que consoliden su campo y acrecienten las investigaciones dentro y fuera del consultorio.

MT PROF. ALFREDO RUBEN AMATO

Antecedentes del autor ALFREDO RUBEN AMATO MUSICOTERAPEUTA (UBA) PROFESOR EN DOCENCIA SUPERIOR (UTN) MAESTRO NORMAL NACIONAL (ENP NRO 2 MARIANO ACOSTA) MUSICO (CONSEJO NAC DE EDUCACION, CFONSERV MUNICIPAL COREOGRAFO Y MAESTRO DE DANZAS NACIONALES (IDAF)

CONTACTO: ALICIA TOPELBERG GUEMES 4144 11F

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TELEFONO: 4383 3445 C/ELEC: atopelbe@psi.uba.ar atopelbe@hotmail.com Presentation NEED FOR THEORIES ON MUSIC THERAPY Disciplinary fields and incumbencies are constructed through research and theories produced from their own exercise. MT (Music Therapy) is challenged with a new investigational and theoretical frame which may allow a more complete knowledge on its incumbency, not only in relation to therapy itself but also to the implications beyond sessions in the practice. Development NEED FOR RESEARCH AND THEORIES ON MUSIC THERAPY The field of a specific disciplinary activity, whether scientific or formal, is outlined and identified through different stages in research by which that field is enlightened as well as through theories (speculative independent knowledge of applications or series of laws related to a phenomena) which emerge from new hypotheses from previous research. Rather less attention has been paid to certain possible areas of investigation on MT, such as the interpretation of the incidence of sound parameters on human behaviour and the activity outside the practice. In studies and experiences devoted to pre-pubescent children, adolescents and adults, the author and his team firstly enumerated parameters that put together the acoustic discourse. Secondly, the outstanding parameter was individualized. Finally, the reasons for the development of an accompanied melody, a heterophony, a vertical polyphony, games with tones and pitches, instead of others, were in need of interpretation. Each group supplied a variety of differences in the results, from which the following statement was produced. MT outside the practice should also be considered MT and promoter of wellbeing-wellness. What kind of emotional mobility is generated by the use and/or selection of a musical instrument? Which are the boundaries among the emotional, the educational and the therapeutic fields? What did Chopin emotionally experience when translating anguish and impotence into such a wonder as Revolutionary Study? What are the implications of an improvised or uniform rhythm with a monophonic or polyphonic texture for certain groups or patients? What is generated by the authoritarian, monotonous and schematic rhythm of current compositions? Is it the lack of commitment to reality? Does it confirm the contradictions that characterize humanity? MT requires theories that consolidate the field and increase research in and outside the practice. MT Prof. Alfredo Ruben Amato

262

Musicoterapia e Identidad Mapuche


Gloria Paz Almarza Anwandter - Liliana Vernica Quijada Garrido
Resumen: Este trabajo musicoteraputico versa sobre la exploracin sonora interna de jvenes mapuches radicados en Santiago de Chile. Descripcin: Trabajo realizado con jvenes mapuches, radicados en Santiago de Chile por razones de trabajo o estudio. El objetivo de la aplicacin musicoteraputica con este grupo en particular fue explorar el sonido interno que subyace en ellos a pesar del lugar donde se encuentren radicados. Esta bsqueda va en descubrir cunto de su cultura msico-ancestral mantienen, pierden y/o modifican lejos de su lugar de origen. Nombre y datos de autoras: Gloria Paz Almarza Anwandter Licenciada en Educacin Musical, UdeC Musicoterapeuta UCH Diplomada en Trastornos de Aprendizaje UCentral Liliana Vernica Quijada Garrido Educadora de Prvulos UdeC Licenciada en Artes Musicales UdeC Diplomada en Estudios Latinoamericanos UdeC Diplomada en Estudios de la Mujer UdeC Musicoterapeuta UCH Diplomada en Dramaterapia UCH Psicodramatista CEPsicodrama Chile

Contacto:

Gloria Almarza Suecia 2955 Depto. 93 A uoa, Santiago, Chile Telfono: 56-2-4749871 Fax: 56-2-4749871 Mail: galmarza@gmail.com

Mini Biografa Gloria Paz Almarza Anwandter, chilena, nacida en 1974. Actualmente trabaja realizando clases de piano, como docente en la Carrera de Musicoterapia en la Universidad Tecnolgica de Chile y musicoterapeuta en forma particular. Liliana Vernica Quijada Garrido, chilena, nacida en 1954. Ha trabajado como docente en la especialidad de msica en diversas universidades del pas, actualmente en la Universidad Tecnolgica de Chile y como musicoterapeuta en forma particular.

263

Music Therapy in India: Evidence, Education and Evolution


Maria Hernandez - Sumathy Sundar - Mohan Sundararaj - Annie TyHurst - Davis Wimberly
Abstract The need for globalizing evidence-based music therapy is significant for developing nations. Sharing of information, consistent exchange of personnel, and accumulation of evidence will contribute to the appropriate transformation that is current in the field. This presentation discusses a protocol for such integrated professional growth in India. Abstract in Spanish: La necesidad de globalizar la msicoterapia es significativo para los paises en va de desarrollo. El intercambio de informacin, el intercambio consistente del personal, y la acumulacin de evidencia contribuirn a la transformacin apropiada que es actual. Este papel discute un protocolo para tal crecimiento integrativo en la India. Description The field of music therapy needs trans-cultural collaboration that proves significant to developing nations with limited music therapy sources. Although such countries have a rich musical tradition, music therapy is an area pertinent to healthcare, in addition to mainstream entertainment or education. There is a common ground of understanding mandatory to international practice that entails theory, research, ethics and the human condition. The only contrasting feature across the globe is the various genres of clinical method. This paper reviews several steps, some of them already taken, to ensure that such gaps in resources are sufficiently filled with necessary programs that enable minority yet functional groups to adapt to the bigger picture while still maintaining their crucial and unique identity. It discusses a protocol in process for the sustainable growth of evidence-based music therapy in select countries such as India. This is partly addressed through a training program and the registering of a not-for-profit organization. Individuals who train in music therapy seldom return to their home country. The lack of training resources unhealthily accompanies the lack of available services of a certified professional. Self-professed music healers, direct their followings based on philosophical origins which have little meaning in a developing country that is experiencing unstoppable growth in many other sectors, including healthcare. Professional music therapy is gradually becoming popular in these nations, but with a tendency for undue commercialization - strategies devoid of the primary elements of a therapeutic relationship and the clinical setting. It is predicted that culturally sensitive yet evidencebased initiatives, will result in accountability and thereby establish a need for proper education, training, research and eventually a certification process. This is reasonable for long-term solutions in healthcare, anywhere in the world.

Presenters (alphabetical): Maria Hernandez MD, BMus, MT-BC University Hospitals, Cleveland, Ohio Sumathy Sundar MA, PhD Nada Centre for Music Therapy, Chennai, India Mohan Sundararaj MBBS, BMus, MT-BC TheraPULSE, Calcutta, India Annie TyHurst B.Mus (Hons), SRAsT(M The Music Therapy Trust, New Delhi, India Davis Wimberly, BMus, MT-BC, NMT Musictherapyworks, Denver, Colorado Contact information Mohan Sundararaj 26/1 Tara Shanker Sarani Kolkata 700 037 Mobile: +91-99030-33732 Email: pianomd@gmail.com Biography 1.
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Maria Hernandez is a medical doctor, pianist and an American Board-Certified Music Therapist based in Cleveland, Ohio.

2.

Mohan Sundararaj is a medical doctor, pianist and an American Board-Certified Music Therapist based in Calcutta, India.

3. Davis Wimberly is an American Board-Certified Music Therapist, a Neurologic Music Therapist and a percussionist from Denver, Colorado and has traveled to India to help spread awareness on music therapy. 4. Annie TyHurst is a psychiatric nurse and a certified music therapist from the United Kingdom who is currently involved in teaching Indias first post-graduate course in music therapy at New Delhi. 5. Sumathy Sundar is a Chennai-based music therapy clinician and researcher and is Founder-President of one of Indias first music therapy organizations, Nada.

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A musicoterapia como experiencia de desvo posibilitando el surgimiento de nuevos territorios existenciales


Grazielly Braga de Aquino
Resumen: Este trabajo propone, desde la prctica musicoteraputica en una enfermera psiquitrica/geritrica, pensar la clnica de la musicoterapia como una experiencia de desvos que posibilitan la creacin de nuevas subjetividades y de nuevos territorios existenciales. Este trabajo tiene por objetivo presentar la importancia de la clnica musicoteraputica vivida, hace tres aos, por las pacientes de una de las enfermeras de una institucin psiquitrica de larga permanencia en Brasil. Esa institucin fue y contina siendo considerada una de las mayores instituciones psiquiatricas de larga permanencia de Rio de Janeiro. Hoy, sin embargo, est caracterstica alter y podemos considerarla mucho ms una institucin geritrica. La enfermera que voy a considerar como foco de mi trabajo es una enfermera femenina y posee 18 pacientes. La media de edad de las mismas se encuentra en torno de los 70 aos de edad y el tiempo de internacin es cerca de 44 aos. Eso significa que esas mujeres ya pasaron ms de la mitad de sus vidas adentro de instituciones. Esa enfermera tambin es considerada actualmente una enfermera de atenciones prolongados y podemos considerar que las pacientes que en ella se encuentran son las que presentan mayores limitaciones fsicas y degenerativas consecuentes del proceso de aejamiento y tambin de la falta de estimulacin necesaria, con relacin a la clientela de las otras enfermeras de esa institucin. De esa 18 pacientes, por ejemplo, 6 son totalmente acamadas, 7 son deficientes visuales, 2 son deficientes auditivas, 4 apenas si locomovem en sillas de ruedas. Fue un grande desafo para m comenzar un trabajo musicoteraputico con esa clientela pues, en el inicio, ningn cambio pareca ser posible en aquel espacio. Sin embargo, con el inicio del trabajo, este territorio dej de ser el mismo, pues a travs de la clnica musicoteraputica una serie de potencialidad vinieron a la tona. Eso dej claro para m la importancia de la musicoterapia en esa enfermera en lo que dice respeto a la creacin de nuevas subjetividades y de nuevos territorios. Haciendo uso de los sabes de Foucault, Deleuze y Guattari que tienen permeado mi prctica en esa enfermera yo considero la prctica clnica de la musicoterapia como una experiencia de desvo que posibilita el surgimiento del "nuevo", de la creacin de nuevos territorios existenciales. Considero que esa clnica se encuentra localizada en un espacio a ser construido. Y quiero mostrar lo que ha sido construido por esas pacientes a travs de la msica, principalmente, con relacin a la mejora de la calidad de vida de las mismas.

Nombre: Grazielly Braga de Aquino Direccin: Calle Machado de Assis, 55/901, Flamengo, Rio de Janeiro, Brasil. Telfono: +55 21 2557-4573 e-mail: graziellyaquino@hotmail.com Tipo de Presentacin: Trabajo o Sesiones de postres Lenguaje oficial: Espaol Mini Biografa: Grazielly Braga de Aquino Musicoterapeuta graduada en el Conservatorio Brasileo de Msica de Rio de Janeiro. Trabajando actualmente con musicoterapia clnica y en salud mental. Cursando actualmente un Master en Psicologa Clnica en la Universidad Federal Fluminense, Niteri, Rio de Janeiro.

Music therapy as a deviation experience enabling the appearance of new existential territories

Abstract: The objective of this work is to present the importance of the experienced music therapeutic clinic, started three years ago, by the patients of one of the infirmaries of a long permanence psychiatric institution in Brazil; and aims to consider the music therapy as a experience that enables the appearance of new existential territories. The objective of this work is to present the importance of the experienced music therapeutic clinic, three years ago, by the patients of one of the infirmaries of a long permanence psychiatric institution in Brazil. This institution has been considered one of the largest institutions of long permanence in Rio de Janeiro. Currently, this characteristic changed and we can consider it much more as a geriatric institution. The infirmary that will be the focus of my work is a feminine infirmary which has 18 patients. The average age of them is around 70 years old and the average permanence time is about 44 years. This means that these women have already passed more than half of her lives inside institutions. Nowadays, this place is also considered as an infirmary of prolonged cares. We can consider that its patients present the biggest physical and degenerative limits, as a result of the aging process and lack of necessary stimulation, when compared to the clientele of other infirmaries of this institution. For instance, from these 18 patient66 6 are totally physically limited, 7 are visual deficient, 2 are hearing 2 s, deficient and 4 need to use wheel chairs. It was a great challenge for me to start a music therapy work with this clientele because, at the beginning, no change seemed to be possible

in that space. However, with the beginning of the work, that territory changed, because a series of potentialities that came afloat through the music therapeutic clinic. This has shown me the importance of the music therapy in this infirmary in the sense of new subjectivities creation and of new territories. Taking into account the knowledges of Foucault, Deleuze and Guattari, who have been permeating my practice in this infirmary, I consider the practice of music therapy clinic as a deviation experience that enables the appearance of the "new", of the creation of new existential territories. I consider that this clinic is located in a space to be built. I want to show what has been being built by these patients through the music, mostly, regarding the life quality improvement of them.

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VOCAL DISORDER A_D MUSIC THERAPY.


Eliane Faleiro de Freitas
ABSTRACT This qualitative research approaches the contributions of the music therapy treatment to the individual with vocal disorder. In this study it is considered emotional dimension of the dysphonic patient in the voices therapy process, promoting the expression of the patient through the not-verbal canal. DESCRIPTION El actual estudio presenta las contribuciones que el tratamiento del musicoterapia puede traer al individuo con trastorno de la voz, alteracin de la comunicacin en el cual la voz no obtiene para satisfacer su papel de la transmisin del mensaje verbal y emocional. La voz combina la manifestacin de aspectos biolgicos, psicolgicos y socioculturales y cuando uno de estos factores si no presenta de forma adecuada puede causar a una repercusin la produccin vocal del individuo. En este estudio se considera dimensin emocional del paciente con trastorno de La voz en el proceso en la musicoterapia, promoviendo la expresin del paciente a travs del canal no-verbal. De acuerdo con las teoras del Fonoaudiologia y del Musicoterapia, esta investigacin cualitativa fue desarrollada con tres pacientes del sexo femenino, en el tratamiento en la musicoterapia o durante un perodo de cuatro meses. El objetivo principal de la investigacin era investigar pues el Musicoterapia puede contribuir para el tratamiento del individuo con trastorno de la voz. Era mirado, especficamente, observar las posibilidades de abertura del canal de comunicaciones no-verbal con el tratamiento del musicoterapia, as como promover la reflexin en los aspectos implicados en el establecimiento del comportamiento vocal modificado. El tratamiento del musicoterapia promovi la abertura del canal de comunicaciones no-verbal en los tres pacientes, a travs del contacto con los instrumentos musicales y el cuerpo apropiado. La investigacin seala la necesidad del musicoterapeuta observar la calidad vocal del paciente antes de usar ciertas estrategias, como lo canto, que pueden daar la salud vocal; destaca la dimensin emocional en el tratamiento del individuo con trastorno de la voz, para garantizar el blanqueo a l en nivel vocal y emocional. Concluye que la emocin y la voz son aspectos inseparables de la calidad vocal. La Musicoterapia demuestra eficiente de la oferta de la expresin de sus emociones y sensaciones en un contexto atento a sus necesidades, previniendo la ocurrencia del abuso vocal, una vez que todo expresa el contenido a travs del canal no-verbal. Palabras llave: Musicoterapia, disfonia, tratamiento.

Autora: Eliane Faleiro de Freitas Fonoaudiloga, Musicoterapeuta, Mestre em Msica Contacto: Av. Rio Branco, Qd 120, lt 02, Setor Ja Goinia GO Brasil CEP: 74674 100. Fone/Fax: 55 62 32041751. Email: elianeff@cultura.com.br

Resumen El actual estudio presenta las contribuciones que el tratamiento del musicoterapia puede traer al individuo con trastorno de la voz, alteracin de la comunicacin en el cual la voz no obtiene para satisfacer su papel de la transmisin del mensaje verbal y emocional. La voz combina la manifestacin de aspectos biolgicos, psicolgicos y socioculturales y cuando uno de estos factores si no presenta de forma adecuada puede causar a una repercusin la produccin vocal del individuo. En este estudio se considera dimensin emocional del paciente con trastorno de La voz en el proceso en la musicoterapia, promoviendo la expresin del paciente a travs del canal no-verbal. De acuerdo con las teoras del Fonoaudiologia y del Musicoterapia, esta investigacin cualitativa fue desarrollada con tres pacientes del sexo femenino, en el tratamiento en la musicoterapia o durante un perodo de cuatro meses. El objetivo principal de la investigacin era investigar pues el Musicoterapia puede contribuir para el tratamiento del individuo con trastorno de la voz. Era mirado, especficamente, observar las posibilidades de abertura del canal de comunicaciones no-verbal con el tratamiento del musicoterapia, as como promover la reflexin en los aspectos implicados en el establecimiento del comportamiento vocal modificado. El tratamiento del musicoterapia promovi la abertura del canal de comunicaciones no-verbal en los tres pacientes, a travs del contacto con los instrumentos musicales y el cuerpo apropiado. La investigacin seala la necesidad del musicoterapeuta observar la calidad vocal del paciente antes de usar ciertas estrategias, como lo canto, que pueden daar la salud vocal; destaca la dimensin emocional en el tratamiento del individuo con trastorno de la voz, para garantizar el blanqueo a l en nivel vocal y emocional. Concluye que la emocin y la voz son aspectos inseparables de la calidad vocal. La Musicoterapia demuestra eficiente de la oferta de la expresin de sus emociones y sensaciones en un contexto atento a sus necesidades, previniendo la ocurrencia del abuso vocal, una vez que todo expresa el contenido a travs del canal no-verbal

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Equipo de musicoterapia del Hospital general de agudos Dr. Teodoro lvarez


Bernardini Andrea - Colombo Vanina - DOnofrio, M. Vernica - Gonzles Geraldine - Hernndez, paulina - Knox, Martina - Morales Manterota, Lus Matias
Resumen: En el Hospital general de agudos Dr Teodoro lvarez funciona un equipo de musicoterapia que se inserta en diferentes reas de la divisin salud mental. Es el objetivo de este pster mostrar la forma en que este equipo desarrolla sus actividades. Actividades: Equipo de Musicoterapia Divisin Salud Mental Centro de da para el tratamiento de las adicciones a las drogas y tratamiento de la adiccin al juego; Grupo de trabajo psicosomtica y estrs postraumtico. Hospital general de agudos Dr Teodoro lvarez. (Argentina) En la actualidad las reas de atencin funcionan dentro del servicio de salud mental, atendiendo distintas patologas. Las reas de desarrollo estn organizadas desde dos ejes: Investigacin- accin, siendo ambas fundamentales en el trabajo clnico en musicoterapia. Nombre y datos del autor o autores: Bernardini Andrea : Licenciada en musicoterapia (Universidad del salvador). Colombo Vanina Licenciada en musicoterapia (Universidad del salvador). DOnofrio, M. Vernica: Musicoterapeuta ( UBA). Formacin en el Abordaje Plurimodal. Gonzles Geraldine: Licenciada en musicoterapia (Universidad del salvador Hernndez, paulina: Licenciada en musicoterapia (universidad Maimonides). Musicoterapeuta (UBA). Knox, Martina: Musicoterapeuta (Universidad del Salvador) Morales Manterota, Lus Matias: Musicoterapeuta (UBA). Formacin en el Abordaje Plurimodal. Contacto: MT. M. Vernica DOnofrio. Email: musicoterapiasur@hotmail.com. Cel: 155-630-8761 Part: 4292- 1398 Title: Music Therapy Team of the General Hospital of Acute Illness Dr. Teodoro Alvarez Summary: In the General Hospital of Acute Illness Dr. Teodoro Alvarez, a team of music therapists works on differents areas of the metal health division. The purpose of this poster is to show the way this team develops his activities. Activities: Team of music therapists, Mental Health Division, Day hospital for the treatment of addictions to drugs and addictions to gambling; Psychosomatic groupwork and post-traumatic stress. General Hospital of Acute Illness Dr. Teodoro Alvarez. (Argentina) As of today, the centers of attention works inside the service of mental health, attending diverse pathologies. The areas of development are organized into two axes: Investigation & Action, being both of them essential in the clinical work of music therapy. Name and Information of the author or authors: Bernardini Andrea : Licenciada en musicoterapia (Universidad del salvador). Colombo Vanina Licenciada en musicoterapia (Universidad del salvador). DOnofrio, M. Vernica: Musicoterapeuta ( UBA). Formacin en el Abordaje Plurimodal. Gonzles Geraldine: Licenciada en musicoterapia (Universidad del salvador Hernndez, paulina: 269 Licenciada en musicoterapia (universidad Maimonides). Musicoterapeuta (UBA). Knox, Martina:

Musicoterapeuta (Universidad del Salvador) Morales Manterota, Lus Matias: Musicoterapeuta (UBA). Formacin en el Abordaje Plurimodal. Contacto: MT. M. Vernica DOnofrio. Email: musicoterapiasur@hotmail.com. Cel: +54(9)11-5630-8761 Part: +54(11)4292-1398

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LAZOS MUSICALES: MUSICOTERAPIA CON GRUPOS DE ADOLESCENTES EMBARAZADAS, PADRES, BEBS Y FAMILIARES.
Bertchinger, Irene Marli
RESUMEN Este trabajo presenta una pesquisa-accin clnico-musicoterpica cualitativa y longitudinal de cuo fenomelgico desarrollada con adolescentes embarazadas , bebs y familiares en las etapas prenatal y posnatal, en el Hospital Materno Infantil Presidente Vargas Ayuntamiento. POA. RS. DESCRIPCIN La maternidad precoz es un grave problema en el Brasil. Debido al contexto de vulnerabilidad de las adolescentes embarazadas y de la importancia de la construccin de relaciones satisfactorias para el desarrollo de una prevencin primaria eficiente El Programa de Apoyo Integral a la Gestante Adolescente del Hospital Materno Infantil Presidente Vargas (PAIGA) Ayunt.. POA.- RS BRASIL , viene actuando desde 1983 en la acogida y acompaamiento a las adolescentes embarazadas y familiares hasta los trs ans del beb. El acompaamiento es realizado por un equipo interdisciplinar del cual hace parte la Musicoterapia desde 2005/1. La hiptesis central es de que las actividades musicoterpicas podran contribuir para la construccin y/o ampliacin de la interacin y del vnculo de la madre con su beb en este contexto de vulnerabilidad. El objetivo es comprender a travs del proceso musicoterpico, el desarrollo de las relaciones primarias, desde la gestacin hasta el final de la primera infancia, relativo al desarrollo del vnculo y apego. Trtase de una pesquisa-accin clnico-musicoterpica cualitativa y longitudinal con tipo de estudio descritivo de cuo fenomelgico. La poblacin en estudio son las gestantes adolescentes y sus familiares que, de forma espontnea adieren al grupo de musicoterapia y a la pesquisa a travs del consentimiento libre y esclarecido de las gestantes adolescentes y sus responsables. Los resultados de la pesquisa aparecen a travs de las esencias que surgen. Hasta el momento fue posible comprender que la msica envolvi las gestantes/ padres/bebs/familiares y el equipo interdisciplinaria e sealan para significaciones e resignificaciones, para la construccin e ampliacin de las relaciones intra e interpersonales, intra e intermusicales y para lo potencial de la Musicoterapia como reforo a la rede de apoyo a la infancia. AUTOR : Irene Marli Bertschinger Graduacin en Educacin Musical- Fac.Musica - Palestrina-RS; Especializacin en Musicoterapia Feevale-RS . Especializacin en Salud Mental del Beb - Transtornos del Vnculo y Clnica de Perinatalidad - Universidad de Provence-Universidad de Paris V,VI e VII Universidad de la Repblica de Montevideo( Uruguay) y Universidad Luterana del Brasil; Capacitacin en Psicopatologa del Beb por el Instituto Leo Kanner y Universidad de Paris Nord-Bobiny. Pesquisadora e integrante del equipo multidisciplinar del PAIGA HPV. Miembro de la Asociacin Gaucha de Musicoterapia. CONTACTO Irene Marli Bertschinger Rua Monroe 46-CEP 90810-220 Porto Alegre -RS - BRASIL Fones: 51 3233 8075 ou 51 9811 9500 E-mail irene.malibe @terra.com.Br

BONDS BY MUSIC: MUSIC THERAPY WITH GROUPS OF PREGNANT TEENAGERS, PARENTS, BABIES AND OTHER FAMILY MEMBERS ABSTRACT This paper presents a phenomenological qualitative and longitudinal action-study carried out with pregnant teenagers, their newborn children and family members during the pre and postnatal periods carried out at the Hospital Materno Infantil Presidente Vargas [HMIPV] City Administration of Porto Alegre. DESCRIPTION Early pregnancy is a severe problem in Brazil. Due to the vulnerability of these pregnant teenagers and the importance of building satisfactory relationships to develop an effective primary prevention, since 1983 the Total and Integrated Support to Pregnant Teenagers Program sponsored by the Porto Alegre city administration at the Hospital Materno Infantil Presidente Vargas [HMIPV] has been working with these teenagers and their families till the children are three years old. Follow up is carried out by a interdisciplinary team. Music Therapy is part of this team since 2005. Our main hypothesis is that activities of Music Therapy can helps to build or establish the mother-child bonds in this vulnerable context. The aim is a better understanding of the Music Therapy contribut71 in building and establishing primary relationships during the period 2ion ranging from pregnancy to the end of early childhood, especially the development of bonds and attachment. This is a qualitative, longitudinal, and phenomenological descriptive action-study.

The sample is pregnant teenagers and their families, who spontaneously agree to participate in the music therapy group and in this study. Teenagers and their families or representatives have signed an informed consent. Results are shown by the following gist. It was possible to see that the Music Therapy process involved the pregnant girls/fathers/babies/family members and team. Thus, it is an important stimulus to form bonds and attachment, promoting and enabling intrapersonal and interpersonal relations, as well intra-music and inter-music relations . Therefore, Music Therapy is an important instrument in the orchestra of those who take care of life.

AUTHOR: Bertchinger, Irene Marli CONTACT Irene Marli Bertschinger Rua Monroe 46-CEP 90810-220 Porto Alegre -RS - BRASIL Phone: (51) 3233 8075 or (51) 9811 9500 E-mail irene.malibe @terra.com.br

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Psychodynamic Voice Therapy A Music Therapeutic Approach with Psychiatric clients.


Sanne Storm
Abstract and description: This workshop is connected to a recently begun research project focusing on the development of a Voice Assessment Tool (VAT) in music therapy. A tool intended to be closely related to clinical practice for evaluating/rating the clients spontaneous voice expression with both quantitative and qualitative aspects. The VAT is intended to be an assessment tool that will elicit data from which it will be possible to analyze vocal parameters, and make psychological interpretations of the clients psychological state in any given situation, based on clinical observations of how the client spontaneously expresses her- /himself with the voice. When listening to a clients voice the listening perspective does not focus on the structure and style of the music, and interpreting the music from that point of view, but on how the client's voice quality can be described, and the potential psychological interpretations related to this. This is therefore concerned with the vocal production of the client - the sounds of their voice. This workshop will be very practical and takes its origin in my daily clinic work with depressive people in adult and youth psychiatry where Psychodynamic Voice Therapy often is used as a method. Psychodynamic Voice Therapy builds on Inge Nygaard Pedersens Psychodynamic Movement, Mary Priestleys psychoanalytical oriented approach and my own experience with voice work. During the workshop we will come around following subjects: - how to build up a spontaneous voice improvisation. - the grounding and centering effect of simple vocal exercises. - embodiment and integration of thoughts and feelings. - listening perspectives with focus on the human voice. Biographical details: Sanne Storm is MA in Music Therapy, graduated from Aalborg University, Denmark 2002. Currently she is doing her doctoral research half time on "Development of a Voice Assessment Tool in Music Therapy" at Aalborg University, Denmark. She works as a music therapist at Psychiatric Hospital, Trshavn, Faroe Islands, both with adults, children and youth. Sanne has specialized in Therapeutic Voice Work and is teaching "Body- and Voicework" and "Clinical Voicework" in the Music Therapy training program at Aalborg University. She has worked with body and voice- work since 1998, and completed a two-year pedagogic course in voice training in 2004. Contact information: Sanne Storm Grnlandsvegur 63 B FO-100 Trshavn Faroe Islands Phone number: + 298 321468 or + 298 273826 e-mail: sanne@storm-musikterapi.dk

273

MSICA EN LA VIDA COTIDIANA


Maria Carolina dos Santos Cruz - Rosemyriam Cunha
Este trabajo propone una investigacin sobre el significado que las personas atribuyen a la msica que acompaa momentos cotidianos. La msica surge como un elemento cada vez mas presente en las manifestaciones diarias. Un anlisis cuantitativo y cualitativo de datos procura contribuir con la construccin terica y prctica de la Musicoterapia. Este trabajo tiene por objetivo la presentacin de un proyecto de investigacin vinculado al Programa Institucional de Iniciacin Cientfica de la Facultad de Artes de Paran, Brasil. El estudio est en curso, especficamente en la parte de revisin bibliogrfica. La investigacin propone identificar y describir el significado que jvenes y ancianos dan a la msica en su vida diaria. Para obtener los datos sern utilizados cuestionarios con preguntas abiertas y cerradas, destinados a una poblacin de 40 personas, siendo 20 con edades entre 18 y 30 aos y otros 20 con mas de 65 aos. Las variables socioeconmicas no estn predeterminadas pretendiendo la mayor diversidad en el grupo de entrevistados. La msica parece ser parte del da a da de las personas y aportes tericos indican el aumento de su utilizacin en espacios individuales y colectivos como un fenmeno contemporneo. En la bibliografa consultada se encontraron trabajos de diferentes reas de conocimiento envolviendo la msica en la vida cotidiana. Es importante destacar que autores del rea de la Musicoterapia son citados en estos estudios, sin embargo no fue encontrado ningn trabajo, hasta el momento, que se inserte en el mbito especfico de la Musicoterapia. Los conceptos de Hombre y msica que dirigen este estudio estn explicados as como los procedimientos metodolgicos propuestos. Este estudio consiste en una prolongacin de un eje de investigacin de doctorado que est en la fase final de anlisis de datos, por lo tanto se puede concluir la necesidad de profundizar el papel que tiene la msica en la vida cotidiana de las personas desde una visin musicoteraputica. Como objetivo final se espera contribuir para la construccin y solidez del cuerpo terico de la Musicoterapia, con datos y anlisis consistentes y fidedignos. Contacto: Maria Carolina dos Santos Cruz Direccin: Conselheiro Laurindo n25 ap.401 Centro. Curitiba-Paran, Brasil. Cdigo postal: 80060-100 e-mail: carol_cruz7@yahoo.com.br tel: +55 41 30162159 o +55 41 99357707 Formacin acadmica: Maria Carolina dos Santos Cruz: Cursa Graduacin en Musicoterapia FAP, Paran; Formacin tcnica en piano CMVL de Tup; Graduada en Ingles-CCBEU; 4 participacin en eventos, actual participacin en el Programa de Iniciacin Cientfica-Cnpq. Rosemyriam Cunha: Gerontloga por la Sociedad Brasilera de Geriatra y Gerontologa; Maestra en Psicologa de la Infancia y adolescencia; Profesora de la Facultad de Artes de Paran, curso de Musicoterapia; Musicoterapeuta clnica. Actualmente cursa Doctorado en Educacin.

MUSIC IN DAILY LIFE This project, linked to the Institutional Program of Scientific Initiation of Faculdade de Artes do Paran, Brazil, aims to show the result of an explorative research on the presence and meaning of music in young and elder peoples daily routines. Out of a qualitative analysis it intends to discuss the relationships established between tunes and songs and everyday activities. Therefore, a survey was conducted. An interview containing both open and closed questions was answered by 20 people, 10 in the city of Tup, (So Paulo) and 10 in the city of Curitiba (Paran). Ten youngsters, at ages ranging from 18 to 30, and ten elder people at 65 years of age answered the questions. These people were chosen aleatoricly the only pre-established variable was the age. Theorical approaches which view the use of music in colective and individual territory as a contemporary phenomenon were taken in consideration. In the literature review no study concerning the topic within Musictherapy was found. However, authors from the field of Musictherapy were quoted in researches about the topic in other fields of knowledge. Therefore, and also due to the fact that this study represents an unfolding of a Doctors Degree research, a deeper comprehension of the role that music plays in peoples daily lives, under the view of Musictherapy, was necessary. The relults found by now show that the group of participants interact with music everyday, and that radio is the main media. The most quoted music styles were Brazilian popular, country an gospel music. As for the meaning and the remembrances brought up by music, answers have showed that emotions are connected to personal musical memories. Up to the moment, the analysis points to the idea that music is a present element in these peoples daily lives, associating with facts deemed important in the biographical context of the group. As a final objective, this study may contribute in building theoretic resource both for Musictherapy and other fields of knowledge which have an interest in investigating the relationships that people establish with musical art.

e-mail: carol_cruz7@yahoo.com.br tel: +55 41 30162159 ou +55 41 99357707


274

La formacin do musicoterapeuta desde el punto de vista del estudiante.


Rangel, Luzamir de O. L.
Resmen Este trabajo trae reflexiones respecto al curso de formacin de Musicoterapeutas desde el punto de vista del alumno. Presntase el histrico de la Musicoterapia en Rio. Evalanse efectos del curso, disciplinas y actividades principales. Disctese la situacin singular del estudiante, envuelto en medio a questiones profundas para su futuro profesional. Descripcin: La vida acadmica del musicoterapeuta se puede comparar al proceso de metamorfosis. Los cambios son inevitables y necesrios. El futuro profesional se vuelve en medio a un importante proceso para madurar sus intenciones y escojas. La preocupacin por la formacin del musicoterapeuta es discutida en algunas publicaciones, como por ejemplo, en la Revista Brasileira de Musicoterapia, 1996, n 2. Los artculos publicados fueran presentados en el VIII Simposio Brasileiro de Musicoterapia en So Paulo, octubre, 1995. En la calidad de estudiante de gradacin en musicoterapia, el inters por el tema se hace desde las experiencias vividas en el curso. No se atribuye ningn juicio del valor, pero s la intencin de articular el efecto del curso y sus resultados en trminos prcticos. El curso de formacin ofrece la interacin de tres tipos de actividades: Disciplinas (tericos y prcticos); entrenamiento, en diversas reas como: educacin musical, descapacitados mentales, psiquiatria y otras. Supervisin clnica en cada rea del perodo del entrenamiento, dada por los profesionales y los profesores experimentados del curso. Como parte del entrenamiento, el estudiante puede hacer su prctica en la Clnica Social Ronaldo Milleco, parte del mismo Conservatrio. La autora intentar reflexionar respecto a las influencias de las reas de estdios en su vida profesional. Por ejemplo, los conocimientos cientficos de disciplinas como Psicologia, tica, Fundamentos de la Musicoterapia, la importancia de las disciplinas de msica y la forma como el trabajo de expresin corporal lleva a mejor domnio y conocimiento de los limites del terapeuta cuando en relacin con su paciente. La autora piensa respecto al investimento y compromiso de la formacin a lo largo del futuro profesional. Finalmente, atribuyese, la posibilidad del ejerccio de la prtica ser llevado con una mirada musicoterpica para otras reas como la educacin y la msica.

Autora Rangel, Luzamir de O. L. Bacharel em Teologia, Seminrio Teolgico Evanglico Vida e Luz Graduanda de Musicoterapia 3 ano CBM CEU Contacto: R: Mateus Silva 200 cep: 20760-480 Inhama - Rio de Janeiro - Brasil Luzamirangel@yahoo.com.br Tels (02121) 2583-4584 cel. (02121) 96877355 Fax (02121) 2210-5110

The formation of the Music Therapist from the students. Summary: This paper brings reflections regarding the undergraduate course in Music Therapy from the students point of view, by presenting a brief review of brazilian Music Therapy. The effect of classes, disciplines and main activities is analized. The students situation is discussed in terms of their professional future. Description: The music therapists academic life can be compared to the process of metamorphosis. Changes are inevitable and necessary. The student is caught into an important growth process in terms of decision and choices. The concern about Music Therapy training has been discussed in some publications, for example, the Brazilian Music Therapy Newsletter, 1996, n 2. Such articles have been presented in the VIII Brazilian Symposium in So Paulo, October of 1995. In the quality of undergraduate in Music therapy, the authors interest comes from her own experience as a student. No judgment of value is attributed here, but the attempt to articulate the effect and results that the course considers. The course offers the interaction of three types of activities: Disciplines (practice and theory); Periods of training in diverse areas as: musical education, mental disability, psychiatry and others. Clinical supervision is given in each area of training given by experienced pr75 2 ofessionals and teachers. As part of training the student can practice in the Social Clinic Ronaldo Milleco, situated in the Conservatory. The author tries to reflect regarding the way areas of studies influence their professional life, for example, the scientific knowledge of

disciplines such as Psychology, Ethics, Music Therapy foundations. Also the importance of music studies, and classes of body expression in terms of allowing knowledge of therapists limits in relation with patients. There are also some issues about the investment and commitment of the students that will reflect upon their future. A final thought leads to the possibility of taking the music therapy view point to other domains such as Music and Education. Mini Biografia: Entrenamiento: IPCEP - descapacitados mentales; Clinica Social Ronaldo Milleco; Casa das Palmeiras - pacientes psiquitricos; Instituto Oscar Clark- pacientes incapacidad fsica; Cursos y workshops; XIII Frum Estadual de Musicoterapia (relator)

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La musicoterapia y la Salud mental en Catalua.


Mara Cecilia Barrios Ruiz:
Resmen: Exposicin, experiencia y visin actual sobre la utilizacin de la musicoterapia en un Hospital de salud mental de Catalua. Trabajo prctico realizado por una Argentina, estudiante del master de musicoterapia en la Universidad de Barcelona, radicada en Espaa hace siete aos.

Descripcin: *Hospital General de Catalua. Unidad de Psiquiatra Aproximadamente 40 camas, donde se encuentran los pacientes, contenidos y acompaados por el personal durante todo el da. Poseen una sala de recreacin, para fumar, ver televisin, leer peridicos, libros y revistas para entretenerse, a parte de las sesiones de musicoterapia. *Equipo de Musicoterapeutas: Nuria Cervera, Joan Mir, Cecilia Barrios. El equipo de musicoterapeutas lleva trabajando en el Hospital desde el ao 2006. El trabajo se plante en base a la necesidad de crear un espacio ldico, creativo y de expresin, para que el paciente pudiera acceder durante su estada. Se pens en la utilizacin de la msica slo como un medio de ocio y entretenimiento, pero con el paso del tiempo y la consolidacin de las sesiones, el espacio ha ido creciendo cada vez ms en importancia y con perspectivas teraputica. Hoy, los pacientes esperan con entusiasmo las sesiones, y el personal sanitario se interesa por participar e intercambiar informacin del estado de cada paciente. *Usuarios: Trastornos afectivos. Trastorno de ansiedad. Depresin. Trastorno Bipolar. Esquizofrenia, entre las ms frecuentes.

*Estructura bsica de las sesiones: Bienvenida: con el objetivo de romper el hielo y captar la atencin de los usuarios para predisponerlos a una buena participacin. Actividades: stas vara segn los objetivos planteados y en base al estado de nimo de los pacientes en ese momento. Por lo tanto, es necesario modificar las actividades en varias ocasiones. Reconduccin recogimiento: la finalidad es reconstruir y contener las emociones y reacciones predisponiendo al grupo a un cierre relajador y armonioso, a pesar de lo expresado. surgidas durante la session,

Cierre: para finalizar la session generalmente proponemos danzas o canciones grupales, que requieren la participacin de todos.

*Historiales clnicos musicales. Importancia y metodologa empleada. *Material adicional - Creaciones-Dibujos-Grficos-Vdeo- Audio. *Conclusiones.

*Autora: Mara Cecilia Barrios Ruiz:

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Profesora de Msica egresada del Conservatorio Provincial de Msica Felipe Boero. Villa Mara, Crdoba, Argentina.-

Tcnico Superior en Publicidad. Instituto Privado Mariano Moreno Crdoba, Argentina. Master en Musicoterapia. Universidad de Barcelona Barcelona, Espaa. * Contacto: Mara Cecilia Barrios Ruiz. Aragon 240 1 1 Tel Fijo: 0034 93 488 18 35 Mvil: 0034 678 690 276 barrios.cecilia@gmail.com 08007 Barcelona - Espaa

*Mini Biografa: Cecilia Barrios realiza proyectos para la aplicacin de la musicoterapia en Espaa. Dirige un proyecto web relacionado con la difusin y uso de la musicoterapia en este pas: http://www.lamusicoterapia.com

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The Gifts of Presence: The Heart of our Role in Cancer and Palliative Care
Lucanne Magill
Abstract: The role of the music therapist in cancer and palliative care is complex and multifaceted. The therapists Presence, characterized with compassion, love and empathy, play a vital role in the process of healing. The skills required include: empathy, acceptance and reflective listening. Mindfulness skills, self-care strategies and the gifts of this work will be described, demonstrated and shared. Description: The role of the music therapist in cancer and palliative care is complex and multifaceted. The Presence of the music therapist as healthcare provider plays a vital role in the process of healing. The compassion, love, empathy and the energy that the therapist brings to others, along with the company of music, creates the center within which others may safely experience their feelings, hopes, dreams, images, memories, and prayers. It is here also that patients and loved ones may experience in music the essence of their beings, their connectedness with themselves, others and with nature or whatever they conceive to be infinite (Magill, 2005). In working with cancer and palliative care patients and families, music therapists are in need of bringing with them these essential qualities in order to professionally assist them. Presence is demonstrated through qualities such as affect, demeanor, eye contact, physical positioning and listening skills. Thus, the important Presence skills required to facilitate rich healing processes include: empathy, acceptance and reflective listening (Magill, 2005) Due to the vulnerable and fragile nature of work with those facing losses and potential loss of life, music therapists need to set aside their own agendas and values in order to maintain their centers and be fully present. Presence can and is achieved by using mindfulness skills and maintaining awareness. Music therapy clinical work in this setting also brings deep rewards to the clinician. It is natural in this work for health care professionals to reflect on their own lifes journey and their own sense of existential meaning and spirituality. This process is a gift in that one can become more deeply attuned to the meaning and purpose of life and living; likewise it can strengthen clinical work (Magill 2005). By maintaining awareness of ones own internal life, one is able to more fully open the heart and mind and can become more acutely attuned to ones own journey as well as the life journey of their loved ones and others. In this workshop, music therapists will be taught mindfulness strategies and clinical skills needed for this work. They will also have opportunities to discuss and share clinical issues related to the role of music therapist in cancer and palliative care. Presenter Name and Affiliation Lucanne Magill, D.A., MT-BC Assistant Professor, School of Music University of Windsor Contact Information: Contact information: Dr. Lucanne Magill, MT-BC Assistant Professor, School of Music University of Windsor 401 Sunset Windsor, Ontario Canada N9B 3P4 Telephone: 519-253-3000 ext. 2793 (work); 519-962-8476 (home) Fax: 519-971-3614 Email: lucannem@uwindsor.ca Mini-biography of Presenter Lucanne Magill, D.A., MT-BC, Assistant Professor, University of Windsor, has 35 years clinical experience working in cancer and palliative care, has published and lectured internationally, has conducted research and provides training and education.

XII Congreso Mundial de Musicoterapia Msica, Cultura, Sonido y Salud Los regalos de la Presencia: El Corazn de Nuestro Rol en el Tratado Paliativo y el Cncer. Abstract: El desempeo de la musicoterapia en tratado paliativo y del cncer es complejo y multifactico. La Presencia del terapeuta, caracterizada con compasin, amor y empata, juega un rol vital en el proceso curativo. Las habilidades necesarias incluyen: empata, aceptacin y escuchar reflexivamente. Habilidades en la conciencia focalizada279strategias en el cuidado propio y los regalos de este trabajo van a ser , e descriptos, demostrados y compartidos.

Descripcin: El desempeo de la musicoterapia en el tratado paliativo y del cncer es complejo y multifactico. La Presencia del musicoterapeuta como asistente sanitario juega un rol vital en el proceso curativo. La compasin, el amor, la empata y la energa, entre otros, que el musicoterapeuta trae, junto con la compaa de la msica, crea el centro en donde otros pueden expresar sentimientos, esperanzas, sueos, imgenes, memorias y juegos. Es aqu tambin donde pacientes y seres queridos pueden tener experiencias de su propia esencia musical, conectarse entre ellos mismos, con otros y con la naturaleza o con lo que ellos consideren el infinito en sus creencias (Magill, 2005). Trabajando con pacientes con cncer, en el tratado paliativo y con sus familias, los musicoterapeutas estn en la necesidad de traer con ellos estas cualidades esenciales a fin de poder asistirlos profesionalmente. La Presencia es manifestada a travs de cualidades como el afecto, la conducta, el contacto visual, la posicin fsica y las habilidades auditivas. Por eso, lo importante de las habilidades de la Presencia requeridas para facilitar un rico proceso curativo incluye: empata, aceptacin y escuchar reflexivamente (Magill, 2005). Dado a la vulnerabilidad y la frgil naturaleza de trabajar con aquellos enfrentados con prdidas y potenciales prdidas de vida, los musicoterapeutas necesitan poner a un costado sus propios asuntos y valores para poder mantener el centro y estar completamente presentes. Presencia puede y es lograda usando atencin y manteniendo una conciencia focalizada. La Musicoterapia en trabajos clnicos tambin trae profundas recompensas para el clnico. Es natural en este trabajo, para los profesionales en tratados curativos, reflexionar en sus propias vidas y sus propios significados de existencia y espiritualidad. Este proceso es un regalo que puede llegar aun ms profundo acorde con el significado y propsito de la vida y de vivir; asimismo puede enderezar el trabajo clnico (Magill 2005). A travs del mantenimiento de la atencin en la vida de uno, es posible abrir por completo el corazn y la mente y llegar a un estado mas afinado a la vida de uno como a la vida de sus seres queridos y la de otros. En este taller, los musicoterapeutas van a aprender estrategias de conciencia focalizada y habilidades clnicas necesarias para este tipo de trabajos. Tambin tendrn la oportunidad de discutir y compartir problemas clnicos relacionados con la tarea del musicoterapeuta con el cncer y el tratado paliativo. Nombre y Afiliacin del Presentante: Lucanne Magill, D.A., MT-BC Assistant Professor, School of Music University of Windsor Informacin de Contacto: Dr. Lucanne Magill, MT-BC Assistant Professor, School of Music University of Windsor 401 Sunset Windsor, Ontario Canada N9B 3P4 Telephone: 519-253-3000 ext. 2793 (work); 519-962-8476 (home) Fax: 519-971-3614 Email: lucannem@uwindsor.ca

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REFLECTIONS OF THE PROBATIONARY MUSIC THERAPIST IN SUPPORT HOUSE


BISPO, Ana
ABSTRACT: This work describes the experience and reflections of the period of training in the Ronald McDonalds House on a music therapy work developed with adolescent/children and mothers through a therapeutically process that according to Bruscia (2000), would be a service of music therapy, therefore, the process happens in each session. DESCRIPTION: The Ronald McDonalds House is an institution headquartered in Rio de Janeiro that supports and receives adolescent children/with neoplasia whom they are in treatment and its respective companions. The House makes use of a corporate psicossocial team for volunteers with formation in Art Therapy, Music Therapy, Psychology, Psicopedagogia, Social Service, Floral Therapy and Corporal Therapy, that has as objective common to better guarantee adhesion to the treatment with attention to the quality of life. The therapies are carried through in such a way in group as individually. The music therapy is divides in three sectors: Mothers, children and adolescents. The work made with the mothers, called Cantoria, according to Petersen, is a therapeutically space where they are, without the presence of the children, one to make musical comedy without value judgment and where they can through music express what to desire. With children (0 -12 years old) one of the objectives, it is to intervine through music, of the sound, the feelings caused for the confrontation of the illness helping them better to deal it with the fear and the anguish that the cancer backwards. . With the adolescents (13-18 years old), the music therapy searchs to give emphasis to the processes of construction of individual and cultural identity. This is a phase of great conflicts, affirmation necessities, that if they project in the musical activity. The time of each adolescent/child and accompanying in the House is indeterminate, with this the process of the therapy has to happen of form that in that one same session it if initiates and if it closes. Therefore, if it cannot foresee the return of that patient to the next attendance for diverse reasons. High of the treatment, high provisory, internment and death.

Presenter: BISPO, Ana Email: fidelinha@gmail.com Pupil of 6 period of the Music Therapy graduation. Trainee of Music Therapy in the Ronald McDonalds House/RJ and of the Center of Development of the Humait/RJ.

REFLEXIONES DEL TERAPEUTA PROBATORIO DE LA MSICA EN CASA DE LA AYUDA EXTRACTO Este trabajo describe la experiencia y las reflexiones del perodo de entrenamiento en la casa de Ronald McDonalds en un trabajo de la terapia de msica desarrollado con el adolescente/los nios y las madres con un teraputico de proceso que segn Bruscia (2000), sea un servicio de la terapia de msica, por lo tanto, el proceso suceden en cada sesin. DESCRIPCIN La casa de Ronald McDonalds es una institucin establecida jefatura en Rio de Janeiro que apoye y reciba a los nios adolescentes/con la neoplasia que son en el tratamiento y sus compaeros respectivos. La casa hace uso de un equipo psicossocial corporativo para los voluntarios con la formacin en la terapia del arte, la terapia de msica, la psicologa, Psicopedagogia, el servicio social, la terapia floral y cabo Therapy, que tiene como objetivo comn mejorar la adherencia de la garanta al tratamiento con la atencin a la calidad de vida. Las terapias se ejecutan de tal manera en grupo como individualmente. La terapia de msica es divisorias en tres sectores: Madres, nios y adolescentes. El trabajo hecho con las madres, llamadas Cantoria, segn Petersen, es teraputico un espacio donde estn, sin la presencia de los nios, uno para hacer comedia musical sin el juicio de valor y donde pueden con la msica expresa qu desear. Con los nios (0 -12 aos) uno de los objetivos, est al intervine con msica, del sonido, de las sensaciones hechos para la confrontacin de la enfermedad que les ayuda para mejorar para ocupar de ella del miedo y de la angustia ese el cncer al revs. Con los adolescentes (13-18 aos), los searchs de la terapia de msica para dar nfasis a los procesos de la construccin de la identidad 281 individual y cultural. sta es una fase de grandes conflictos, las necesidades de la afirmacin, que si proyectan en la actividad musical.

El tiempo de cada adolescente/nio y acompaamiento en la casa es indeterminada, con esto el proceso de la terapia tiene que suceder de forma eso en esa un misma sesin l si los iniciados y si se cierra. Por lo tanto, si no puede prever la vuelta de ese paciente a la atencin siguiente por razones diversas. Colmo del tratamiento, del alto provisorio, de la internacin y de la muerte. Presentador: BISPO, Ana Email: fidelinha@gmail.com Pupila del perodo 6 de la graduacin de la terapia de msica. Aprendiz de la musicoterapa en el Ronald McDonalds House/RJ y del centro del desarrollo del Humait/RJ.

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Clnica Musicoterapeutica en el Hospital Tobar Garca


Lidia Romero
TITULO DE CADA TRABAJO: 1) "Como entender para ser entendidos" Integracin del contexto familiar al anlisis musicoterapeutico de Lidia Romero 2) "Cantando cont su historia.... y dice as...." de Anabel Rodrguez 3) "Ser uno junto a los otros" de Gabriela Poloni. 4) "Contigo en la distancia" de Gisela Barok.

RESUMEN PRESENTACION DE LA MESA Esta mesa esta constituida por profesionales musicoterapeutas del Hospital Infanto Juvenil Dra. Carolina Tobar Garca, primero y hasta el momento nico hospital especializado en el pas en psicopatologa de la niez y la adolescencia. Se presentar a travs de casos clnicos de pacientes derivados de diferentes Servicios del Hospital, la modalidad de abordaje y proceso musicoterapeutico con las particularidades de cada tratamiento. La Seccin de Musicoterapia posee una trayectoria de formacin especializada en patologas severas de la infancia y adolescencia. Fue desarrollando su perfil a travs de la experiencia clnica y el anlisis de la misma, arribando a conceptualizaciones tericas que sustentan su prctica y complementan el trabajo interdisciplinario favoreciendo el armado de redes sociales. Lic. Lidia Romero DATOS PERSONALES: DIRECCION: Bombero Ario 390 C. P (1834) Temperley - Provincia de Buenos Aires. TELEFONO / FAX 4264-2000 E MAIL: lidiaromero2002@yahoo.com.ar

TITLE OF THE BOARD "Music Therapy Clinic at the Tobar Garcia Hospital" TITLES OF PRESENTATIONS 1) "How to Understand? To Be Understood" Family context integration to the music therapy treatment by Lidia Romero 2) "Singing He Told His Story.... And Says...." by Anabel Rodrguez 3) "Be One, Together With Others" by Gabriela Poloni. 4) "With You In The Distance" by Gisela Barok. ABSTRACT PRESENTATION OF THE BOARD This Board is constituted by music therapist professionals of the childhood and youth hospital Dr. Carolina Tobar Garcia, being the first and only hospital specialized in childhood and youth psychopathologies. Se presentar a travs de casos clnicos de pacientes derivados de diferentes Servicios del Hospital, la modalidad de abordaje y proceso musicoterapeutico con las particularidades de cada tratamiento. It will be presented, through clinical patients derived from different sectors of the hospital, the healthcare modality and music therapy process particularities of each treatment. The music therapy sector has a specialized training lifeline in childhood and youth severe pathologies. It developed its profile through the clinical experience and the analysis of it, reaching theoretical conceptualizations that support its practice and complement the interdisciplinary work favouring the building of social bonds. Lidia Romero

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Formacin y perfil del Musicoterapeuta en la Universidad de Buenos Aires


Lucia Bellani - Emmanuel Barrenechea - Nahuel Prado - De Vesa Andrea - Juan Neves Sarriegui Susana Narvaez - Carlos Guemes
Resumen El objetivo del trabajo es mostrarle a la comunidad musicoterapeutica mundial, la historia, composicin y actualidad de la formacin en la U.B.A. Tambin realizar un anlisis y propuesta de contenidos para la carrera que creemos que impulsara un salto cualitativo a la disciplina y a la comunidad en general. Descripcin La carrera de Musicoterapia de la U.B.A es la nica carrera pblica, laica y gratuita del mundo. Se hace necesario que la formacin y el perfil de los graduados/as est a la altura de las necesidades de la salud pblica del pas. Partiremos de un repaso de la historia de la disciplina en la Argentina para luego describir y analizar profundamente la historia de la carrera en nuestra universidad. El plan de estudio de la misma est planificada en tres grandes reas: una es la especfica de la disciplina, otra es de formacin musical y por ltimo encontramos la que abarca disciplinas psicolgicas y neurofisiolgicas. Una vez concluidas estas tres reas, comienza una dinmica terico-practica en mbitos de salud y educacin; las llamadas prcticas profesionales. La culminacin final consiste en la elaboracin de una tesina. Dicha formacin permitir desempearse interdisciplinariamente en la proteccin, promocin y prevencin primaria, secundaria y terciaria de la salud. Este accionar profesional se lleva a cabo en hospitales, centros de salud, escuelas (comunes y/o especiales), instituciones de salud mental. Desde nuestro lugar presentaremos un esquema que trace las bases de un futuro plan de estudios, que tenga en cuenta la necesidad de formar profesionales de la salud que puedan desempearse en el sistema de salud pblico, dentro de las necesidades especficas de la sociedad argentina. Contaremos para esto con la colaboracin de distintos actores de la comunidad musicoteraputica y de otras disciplinas, con la aspiracin de contribuir as la excelencia acadmica y al crecimiento de la disciplina. Nombre y datos de los autores: Asamblea de estudiantes de Musicoterapia de la U.B.A. Lucia Bellani: estudiante avanzada de musicoterapia. Emmanuel Barrenechea: estudiante avanzado de musicoterapia. Nahuel Prado: estudiante avanzado de musicoterapia. De Vesa Andrea: estudiante avanzada de musicoterapia. Juan Neves Sarriegui: estudiante avanzado de musicoterapia. Susana Narvaez: estudiante avanzada de musicoterapia. Carlos Guemes: estudiante en proceso de tesina. Contacto: Emmanuel Barrenechea Dir.: Carlos Calvo 815 depto. 10 Tel.: 011 4300-4773 Email: emmanuelbarrenechea@gmail.com Title The curriculum and focus of Music Therapy at the University of Buenos Aires. Summary The objective of this abstract is to demonstrate to world Musical Therapy community both the historical and current framework of the program at the UBA. Also, to realize an analysis and proposal of content for the program, that we believe might improve the discipline and the community in general.

Description The Music Therapy program at the UBA is the only public, secular and free program of its kind in the world. Such that it is necessary that the curriculum and focus of the graduates equip them to meet the high demands in the public health of the country. We will start off with a review of the history of the discipline in Argentina in order to then describe and analyze in depth the history of the program at our university. The program is divided into three large areas of investigation: first are the specifics of the discipline, then the musical training, and finally that which covers the areas of Psychology and Neurophysiology. Once these three areas are covered, we start on a dynamic application of the theories learned in the fields of Education and Health; the so-called professional practice. This all culminates in the elaboration of a short thesis paper.
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This training allows the student to develop within in an interdisciplinary framework with particular attention to health protection and

promotion, as well as primary, secondary, and tertiary prevention. The student gains this experience in hospitals, health centers, schools (public or specialized), and mental health institutions. From our perspective we will present a schematic that outlines a future program that keeps in mind the need to develop health professionals that can occupy the public health system and address the specific needs of Argentine society. To achieve this we count on the collaborative efforts of different members within the Musical Therapy community as well as those of other disciplines, with the hopes of contributing to academic excellence and to the growth of the discipline. Name of information of authors: Asamblea de estudiantes de Musicoterapia de la U.B.A. Lucia Bellani: advanced student in Musical Therapy Emmanuel Barrenechea: advanced student in Musical Therapy Nahuel Prado: advanced student in Musical Therapy De Vesa Andrea: advanced student in Musical Therapy Juan Neves Sarriegui: advanced student in Musical Therapy Susana Narvaez: advanced student in Musical Therapy Carlos Guemes: advanced student in Musical Therapy Contact: Emmanuel Barrenechea Addr.: Carlos Calvo 815 depto. 10 Tel.: 011 4300-4773 Email: emmanuelbarrenechea@gmail.com

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Sonidos irresitibles: Diferentes tipos de msicoterapia en el tramiento de las adicciones


Irene Dijkstra
Resumen: La adiccin puede ser descrita en algunos casos como una enfermedad crnica con una etiologa bio-psico-social. La forma en que evoluciona una adiccin es un proceso multifactico, este cambio est influenciado tambin por el punto de vista de la cultura y la sociedad. Este seminario mostrar diferentes puntos de vista sobre la adiccin y diferentes mtodos de musicoterapia

Descripcin del seminario: El uso de sustancias psicodlicas est generalizado. Este uso puede convertirse en un abuso y podra desencadenar en una dependencia o adiccin. La forma en que evoluciona una adiccin es un proceso multifactico, este cambio est influenciado tambin por el punto de vista de la cultura y la sociedad. Debido a que la adiccin es un problema muy complejo, una solucin centrada slo en una de ests facetas no dar ningn resultado duradero. Recientemente se present en el VII Congreso Europeo de Musicoterapia celebrarado en los Pases Bajos, un simposio internacional titulado: Music and Altered States. Se presentaron las oportunidades de utilizacin de la musicoterapia con ejemplos de diferentes culturas y desde contextos clnicos, teraputicos y espirituales. Teniendo como resultado el inicio de la red de MTA, (Red de Musicoterapia para las Adicciones) que es coordinada por Dr. Jrg Fachner Investigador en la Universidad de Witten / Herdecke, Alemania. La investigacin muestra que la musicoterapia es efectiva sobre: la motivacin (Miller & Rollnick, 2002, Garrett, Landau-Stanton, Stanton, Stellato-Kabat y Stellato-Kabat, 1997), en la tcnica de cue-exposure (Horesh, 2003) , en la cohesin del grupo, catalizar emociones (Gallagher en Steele, 2002) y el enfrentamiento con habilidades en el coping (Hakvoort Dijkstra, 2004). En este seminario se mostrarn diferentes puntos de vista sobre las adicciones y a los diferentes mtodos de musicoterapia aplicados forma prctica con los participantes del seminario. El foco de los diferentes mtodos de musicoterapia se presentarn en relacin a los siguientes componentes: Accin (fsica), el Leguaje Corporal, Coping, Interaccin, Comunicacin y Emociones. Durante el seminario se realizarn grabaciones de video. Lo que facilitara la posibilidad de analizar y discutir el comportamiento musical, la comunicacin y el lenguaje corporal. Contact information Name : Irene Dijkstra Adress : Weezenhof 8265 6536 CB Nijmegen The Netherlands Telephone 00 31 (0) 24 3430177 Fax 00 31 (0) 24 3661886 Mail private : irenedijkstra@chello.nl Mail work irene.dijkstra@novadic-kentron.nl Biographical details: Irene Dijkstra music therapist (M Mth) since '86 music therapist and administrator of the creative therapists team by Novadic-Kentron, addiction treatment network ( Netherlands). Member of the Dutch Training Advisory Committee for addiction, member of the dutch Committee Guidelines Addiction and treatment. Besides she is freelance coach and trainer and has experience working as educator, presenter of workshops and training-programs tailored to addiction, (music)therapy and interaction, specialized in Emerging Body-Language (EBL) and pre-verbal interaction structures

Irresistible Sounds, different music therapy methods in addiction treatment Abstract Addiction can be described as an almost chronically illness of bio-psycho-social etiology. The way an addiction evolves is a multifaceted process, changing and coloring by the point of view of culture and society. This workshop will show different points of view about addiction and different methods in music therapy. Workshop Description The use of psychedelic substances is widespread. Use can proceed into abuse and might turn to dependency or addiction. The way an 286 addiction evolves is a multifaceted process, changing and coloring by the point of view of culture and society. Because addiction is a very complex problem, a one-way resolution will not yield any lasting result.

Recently at the 7e European Musictherapy Congres in the Netherlands there was held an international symposium on music and altered states. It examined opportunities for using music therapy providing examples from different cultures and clinical, therapeutic and spiritual settings. Finally the result was the start of the MTA Network, (the Music Therapy for Addictions Network) witch will be coordinated by Dr. Jrg Fachner Senior Research Fellow at University Witten/Herdecke, Germany. Research shows that music therapy seems to be the most effective on: motivation (Miller & Rollnick, 2002, Garrett, Landau-Stanton, Stanton, Stellato-Kabat & Stellato-Kabat, 1997), as cue-exposure technique (Horesh, 2003), focussing group-cohesion, catalysing emotions (Gallagher en Steele, 2002) and confrontation with coping skills Dijkstra & Hakvoort, 2004). In this workshop I would like to show different points of view about addiction and to different music therapy methods to demonstrate this in practice with the participants. Focus of the music therapy that will be demonstrated in the perspective of different methods are : (Physical) Action, Body language, Coping, Interaction, Communication, Emotions I will use video-registration during the workshop. It enhances the possibility to analyze and discuss musical behavior, communication and body language.

287

AUDITORY STIMULATION PROGRAMS DESIGNED FOR HYPERTENSION, DEPRESSION, SLEEP DISORDERS AND HOSPITAL STRESS.
Vera Brandes
Abstract: In an interdisciplinary research program, specific therapeutic auditory stimulation programs were developed for the application in hospitals, rehabilitation and out patient treatment. The result of the studies showed significant improvement of heart rate variabilty, stress coping abilities, hypertension regulation, sleep quality and the comfort and emotional stability of hospital patients. Description: In 2004 a MusicMedicine research program was established at the Paracelsus Medical University in Salzburg. The presentation will report on the results of the research efforts which have led to the development of special auditory stimulation and health care programs designed for the use under clinical conditions and for the treatment of out patients. On order to develop the audio programs, an interdisciplinary research team consisting of experts from the fields of Medicine, Musicology, Chronobiology, Psychology worked together with Composers and Musicians. Physiological parameters were analyzed to determine the effects of music on the quality of chronobiological regulation, stress coping capabilities and heart rate variabilty. The effects of the programs on the psychological conditions and needs of patients were evaluated with in depth interviews analyzed with qualitative research methods The audio programs were analyzed with a program developed to demonstrate the potential synchronization of the music and the psychophysiological response. Based on the results of these experiments, a series of receptive music therapy programs were composed and produced including specific programs for the treatment of hypertension, stress-related arrythmia, depression, sleep disorders and for the reduction of hospital stress. The result of the studies showed significant improvement of heart rate variabilty, stress coping abilities, hypertension regulation, sleep quality and duration as well as comfort and emotional stability of hospital patients The therapeutic auditory stimulation programs proved to be effective. Receptive music therapy in the form of auditory stimulation programs may play a significant role as adjuvant or complimentary therapy and can serve as an effective tool to improve the quality of medical treatments and hospital care. Vera Brandes, Director MusicMedicine Research Program Paracelsus Medical University Strubergasse 21, 5020 Salzburg, Austria Tel.: +43 (0)664 / 255 01 02 Fax: +43 (0) 1 / 968 47 23 eMail: vera.brandes@pmu.ac.at Homepage:: www.music-medicine.com

Mini biography of presenter: Vera Brandes, Director MusicMedicine Research Program, promotes the interdisciplinary research of music in medical care. Her background is in music and media effect research based on Psychological Morphology. www.music-medicine.com

288

MUSIC THERAPISTS WHO PURSUE FURTHER TRAINING IN VERBAL THERAPIES: A CONTINUING STUDY
Helen Loth - Eleanor Richards
ABSTRACT This paper presents results from a pilot study and a series of semi-structured interviews surveying UK music therapists who have undertaken trainings as psychoanalysts, psychotherapists or counsellors. These findings, in addition to the authors own experiences are drawn on to consider in depth the implications for clinical practice and training. DESCRIPTION In this paper we shall present further results of an ongoing enquiry into training and career development decisions taken by some practising music therapists. A significant minority of music therapists in the UK have elected to pursue further clinical training as psychoanalysts, psychotherapists or counsellors. All these are professions which traditionally regard verbal exchange as the primary working modality. This raises some important questions about these therapists views as to the possibilities (or limitations) of music, and of music therapy which have relevance to the content and planning of music therapy training and programmes for further professional development. They also raise issues as to the beliefs and assumptions underlying the therapists relationship with music itself. A pilot study surveying all UK music therapists who have undertaken trainings in verbally-based therapies was completed in August 2007. Initial findings, presented at the 7th European Music Therapy Congress 2007 showed that there was a general sense amongst respondents of being under equipped following their music therapy training, particularly when talking with their clients, and of the further training enabling them to be able to work and think in greater depth. Whilst some left the profession the majority continued to work as music therapists with a proportion working additionally as verbally-based therapists. This paper will present further analysis of the preliminary results and in addition the results of a series of semi-structured interviews conducted with a representative sample of therapists who have undertaken a full training leading to a qualification to practice as a verballybased therapist. The authors will draw on the experiences of the interviewees as well as their own experiences (both speakers have themselves pursued further training) to consider in depth the effect of undertaking these further trainings on their music therapy practice and on themselves as therapists.

PRESENTER NAMES AND AFFILIATIONS Helen Loth: Anglia Ruskin University, Cambridge, UK Eleanor Richards: Anglia Ruskin University, Cambridge, UK CONTACT INFORMATION Helen Loth Department of Music and Performing Arts Anglia Ruskin University East Road Cambridge England CB1 1PT Tel: 0845 196 2663 Fax: 0044 (0)1223 417707 h.loth@anglia.ac.uk

MINI BIOGRAPHY OF PRESENTERS Helen Loth is Senior Lecturer in Music Therapy and a counsellor in general medical practice. Her music therapy practice is in Mental Health, Eating Disorders and young children and families. Eleanor Richards is Senior Lecturer in Music Therapy; her clinical work is with adults with learning disabilities and mental illness. She is also a psychoanalytic psychotherapist in private practice.
289

La msica gitana como elemento cultural y su utilizacin en Musicoterapia.


Ana Maria de Araujo
Resumen: Este trabajo intenta presentar la msica gitana como elemento cultural y los efectos benficos cuando utilizada en la clnica de la Musicoterapia. Esperamos con esta contribucin que el musicoterapeuta pueda ampliar su universo musical y consequentemente, su escucha teraputica. Palabras-llave: Msica Gitana, Cultura, Musicoterapia. Descripcin: La oportunidad de convivir con el pueblo gitano ha posibilitado a esta autora observar las costumbres de sus tradiciones. La interacin con los ncleos comunitarios gitanos permiti no solo el conocimiento de sus reglas de convivi, sino tambin la percepcin de cmo es enorme la influencia de la msica en su vida. A lo largo de presentaciones artsticas observadas que tambin en ncleos non gitanos ( pero de personas identificadas con ellos) la msica gitana despierta significativo entusiasmo por su estilo alegre y romantico. Es comum que las personas aunque no sean gitanas se vuelven participantes en los espetculos. Por sus caractersticas musicales, la msica gitana ofrece momentos sostenidos por la harmonia repetitiva (Rodrigues, 2000) y esto puede ser un continente seguro para que todos puedan expresar sus sentimientos. Los aspectos grupales en la comunidad gitana observados en estas situaciones se parecen a los del setting musicoterpico. Los efectos del sonido, msica y movimiento percibidos en los grupos gitanos durante y despus de la experiencia musical son tambin teraputicos: cambios de nimo, comunicacin ms intensa y movimientos ms aprimorados con la repeticin en las danzas. Considerando el trabajo en Musicoterapia en trminos de identidad sonora es importante no excluir la msica gitana de las posibilidades de interacin musical una vez que es comprobada por esta autora el encantamento ejercido por este tipo de msica. Nombre y datos del autor: Ana Maria de Araujo Pianista licenciada, escritora y compositora, vice-presitenta de la Academia Internacional de Msica, Rio de Janeiro, Brasil. Contacto: Ana Maria de Arajo Rua Bulhes de Carvalho 619 apt.601 Copacabana Rio de Janeiro CEP: 22081 000 Telefax: (21) 2522-3896 Email: amaeventos@terra.com.br Mini Biografia del presentador: Pos graduanda en musicoterapia (Conservatorio Brasileiro de Msica); Disco de platina por trilha Sonora de novela Explode Corao, Rede Globo (venta superior a 250.000 exemplares y en Portugal acima de 50.000)

290

Vivencias Musicoteraputicas con la Literatura Infantil: musicoterapia y literatura para nios hospitalizados
Maria Helena Bezerra Cavalcanti Rockenbach
Resmen: El trabajo describe los resultados de una pesquisa cualitativa para la tesis de Doctorado "Vivencias Musicoteraputicas con la Literatura Infantil: musicoterapia y literatura para nios hospitalizados." La investigacin fue realizada, en 2005, con nins del Servicio de HematoOncologia Peditrica del "Hospital da Criana Conceio" y del "Hospital So Lucas da PUCRS," de Porto Alegre.

DESCRIPCIN: La pesquisa tuvo como objectivo primordial la produccin de conocimiento en las reas de Teoria de la Literatura y Musicoterapia, con la tesis de que la literatura infantil y la musicoterapia pueden contribuir para la mejora del estado de nimo de los nios hospitalizados. Los objectivos especficos han sido: 1) mejorar el estado de nimo de los nios hospitalizados; 2) mejorar la autoestima de los nios; 3) fortalecer el sistema imunolgico; 4) minimizar el trauma hospitalar; 5) posibilitar la catarsis de tensin y ansiedad; 6) proporcionar a los nios internados el desarrollo de la sensibilidad literaria y musical; 7) integrar los nios hospitalizados a la cultura; 8) relatar esta experiencia para que otros nios internados puedan se beneficiar con la musicoterapia y la literatura infantil. En un universo de 139 evaluaciones hechas durante antes y despus de las sesiones a travs de la Regla de Evaluacin PAS ( para evaluar el estado emocional de los nios), fue inferida la mejora del estado de nimo en 74,8% de los nios, con la sensacin mxima de felicidad. Los nios se identificaran con la cara A (0,04), despus de las sesiones, indicando una amplitud positiva de su estado emocional, con la sensacin mxima de felicidad. 19,1% se identificaran con la cara B (0,37), lo que tambin corresponde a una amplitud de nimo positiva. En ninguno de los casos hubo amplitud de nimo negativa: 0%. Son presentadas las historias de vida de diez nios sobre sus vivencias en la hospitalizacin, improvisaciones y composiciones musicales, baseadas en los cuentos de hadas tradicionales, como "El Lobo y los Siete Cabritos", El Patito Feo; Cinderela". Los resultados han inferido que musicoterapia y literatura pueden caminar juntas. Nios hospitalizados necesitan de msica y de cuentos de hadas para continuar soando y para que nuevas canciones e historias sean compuestas. Son vidas que se transforman en historias e historias que se transforman en vidas.

Nombre y datos de la autora: Maria Helena Bezerra Cavalcanti Rockenbach. Musicoteraputa clnica. Doctora en Letras y Especialista en Musicoterapia por el Conservatrio Brasileiro de Msica de Rio de Janeiro. Musicoteraputa de la AACD de Porto Alegre. Presidente de la Asociacin de Musicoterapia-AGAMUSI. Contacto: Maria Helena Bezerra Cavalcanti Rockenbach Rua Dr. Guimares Rosa, 135- Boa Vista 90.000 Porto Alegre- RS Telefons:(51) 33286198 -(51) 91219852

Work title: Music Therapy experiences with children literature: Music Therapy and Literature for hospitalized children ABSTRACT: This essay presents the results of the qualitative research projecta dctorate thesis "Vivncias Musicoterpicas com a Literatura Infantil: musicoterapia e literatura para crianas hospitalizadas". The research deals with long term hospitalized children in the year 2005 at the Onco-Hemato in Hospital da Criana Conceio/Children Hospital and at the Pediatrician Sector in Hospital So Lucas of PUCRS. DESCRIPTION: The main goal of the project was to produce knowledge in the areas of Literature Theory and Music Therapy with the thesis that Children's Literature and Music Therapy can contribute significantly to an improvement of the mood of the hospitalized children through Music Therapy and storytelling sessions. The specific goals were: 1) to improve the spirit of hospitalized children; 2) to improve children's self-esteem; 3) to strengthen the immmune system; 4) to minimize hospital trauma; 5) to enable tension and anxiety catharsis; 6) to provide children with culture; and 7) to report this experiment so that hospitalized children may benefit from music therapy and children literature.
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The kids were evaluated before and after the sessions in their emotional statement with the PAS (Pain Assessment Scale). After a total of 139 evaluations done during the sessions, there was an evidence of improved mood in 74,8% of the hospitalized children with a "maximum

feeling of happiness". Children identified with face A (0,04), after the meetings, indicating a positive amplitude in their emotional state, with " maximum feeling of happiness".19,1% identified with face B (0,37), which also corresponds to a positive spirit amplitude. There were no cases of negative spirit amplitude: 0% The study presents the life story of ten hospitalized children, their life and their experiences during hospitalization, as well as musical improvitation and compositions based on the traditional fairy tales as "The Wolf and the Seven Little Kids", "The Ugly Duckling", "Cinderela". Results suggest that music therapy and literature may work together. Hospitalized children need music and fairy tales to keep on dreaming so that new songs should be composed and new stories should be written. These are lives that turn into stories and stories that turn into lives. Author's name and data: Maria Helena Bezerra Cavalcanti Rockenbach. AACD Telephone numbers: +55/51-3328 6198 - /9121 9852

292

Musicoterapia en el Servicio de Reumatologa del Hospital de Agudos Bernardino Rivadavia.


Nicola, Mara Dolores - Marsimian, Nuria - Nuzzi, Mariana - Cavallo, Mara Elena - Chiavone, Vernica Daz Prez. Magdalena - Goiheneix. Mercedes - Taube, Carolina
Resumen: La presentacin dar cuenta del trabajo realizado en el Servicio de Reumatologa del Hospital de Agudos Bernardino Rivadavia enmarcado dentro de la concurrencia de Musicoterapia de dicho Hospital. Descripcin: La atencin de Musicoterapia en el Servicio de Reumatologa del Hospital de Agudos Bernardino Rivadavia se enmarca dentro de la concurrencia del mismo. El trabajo mostrar la inclusin del equipo de musicoterapia en dicho servicio. Se presentar el proceso de tratamiento de un grupo de pacientes incluyendo encuadre, objetivos, admisin, plan de tratamiento y alcances del mismo. Se dar cuenta, tambin del aporte especifico de la disciplina dentro del equipo de profesionales del Servicio y se expondr el proyecto de investigacin realizado dentro de los requisitos de formacin de concurrentes. Nombre y datos de los autores: Equipo de Musicoterapia del Hospital B. Rivadavia - Nicola, Mara Dolores. Lic. en Musicoterapia. Concurrente Tercer ao. - Marsimian, Nuria. Lic. en Musicoterapia. Concurrente Segundo ao. - Nuzzi, Mariana. Lic. en Musicoterapia. Concurrente Segundo ao. - Cavallo, Mara Elena. Lic. en Musicoterapia. Concurrente Primer Ao - Chiavone, Vernica. Mt. en Prevencin de Salud, en instancias de tesina. Concurrente Primer Ao. - Daz Prez. Magdalena. Lic. en Musicoterapia. Concurrente Primer Ao - Goiheneix. Mercedes. Lic. en Musicoterapia. Concurrente Primer Ao - Taube, Carolina. Lic. en Musicoterapia. Concurrente Primer Ao. Supervisor: Lic. Diego Schapira Contacto: mtrivadavia@yahoo.com.ar

Ttle of presentation: Music Therapy in Rheumatologys Department, at the Bernardino Rivadavia Hospital

Abstract: This presentation will describe the work done at the Rheumatology Service of the Bernardino Rivadavia Hospital framed within the concurrence of Music Therapy in this Hospital. Description: Music Therapys attention at the Rheumatology Department of the Hospital Bernardino Rivadavia is framed within the concurrence of Music Therapy in this Hospital. This work intends to show the inclusion of the music therapists team in the department. The process of the treatment with a group of patients will be presented, including frame, objectives, admission, treatment plan and scope thereof. It will intend to illustrate the specific contribution of our discipline within the team of professionals of the Department and to outline the investigation project carried out under the requirements of the concurrents training. Presenter name(s) and affiliation(s): Music Therapy Team of B. Rivadavias Hospital: -- Nicola, Maria Dolores. Lic. In Music Therapy. Concurrent third year. -- Marsimian, Nuria. Lic. In Music Therapy. Concurrent Second year. -- Nuzzi, Mariana. Lic. In Music Therapy. Concurrent Second year. -- Cavallo, Maria Elena. Lic. In Music Therapy. Concurrent First Year -- Chiavone, Veronica. Lic. In Music Therapy. Concurrent First Year -- Diaz Perez. Magdalena. Lic. In Music Therapy. Concurrent First Ye3 29 ar -- Goyheneix. Mercedes. Lic. In Music Therapy. Concurrent First Year -- Taube, Carolina. Lic. In Music Therapy. Concurrent First Year.

Supervisor: Lic. Schapira Diego Contact information: mtrivadavia@yahoo.com.ar

294

BUILDING UP THE FUTURE


Sheila Volpi - Ana Letcia Zacharias dos Santos - Mariana Gomes Godinho de Castro - Juliane Neves Fiorezi
Abstract: This paper focuses a discussion on how adolescents have been showing their presence on music therapeutic setting. That fact is based on music analyses of minor transgressors productions in order to understand the specific way they reveal themselves to the other members of the group as well as to themselves.

Description Brazil is a large and rich country with a deep social, economic, and political gap. Thus, it is easily detected an utter economic discrepancy among the rich and the poor. In fact, the unearned income between these two economic groups is utterly unequal. Because of this fact added to some others, those poor families have deep difficulties in leading a solid and well structured life, which may cause psychological, emotional, and affective situation on those minors. As a result of that lack of family structure, kids and adolescents leave their so called homes in order to seek for a better place to live on the streets, where they are meant to survive. Criminality among them has been increasing so fast that the government is trying to find ways to minimize that situation. And as a result of this performance, The Child and Adolescent Decree (ECA) was established, in 1990. Well, as music therapists, we call to ourselves this social responsibility to propose several actions in order to help and change such human situation, for, more than therapists, we actually are health promoters. Well then, this music therapeutic study of mine for this congress is the result of weekly group therapies during a year with those minor transgressors. The main issue of the discussion is to get an efficient understanding, by the use of these musical sessions analysis, adolescents way of being and living in this world; furthermore, it is important to understand how music of Music therapy can give away to those teenagers to face themselves or the others in such a particular way that can ease their private and social behavior. Finally, this study intends to show up that, through music or music instruments, that group clearly turned out to freely express their feelings and souls better than their thoughts in an attempt to face up the world and the others and also themselves in a brand new way.

1. Ttulo: CONSTRUYENDO EL FUTURO 2. Resumen: Presentamos aqu, la cuestin del comportamiento de los adolescentes, en la cual se apropian del espacio en el setting musicoteraputico, partiendo de la anlisis musical, de las producciones grupales, de menores infractores, a fin de comprender como los mismos se exteriorizan, ante a si mismo y con los otros.

3. Descripcin: Las dificultades econmicas, polticas y sociales en que el Brasil enfrenta, resultan en disparidades en la distribucin de rentas, presentando como consecuencia, la falta de justicia, generando camadas sociales desiguales. Delante de estas crisis y sumando a otros factores, muchas familias presentan dificultades en mantenerse estructurada y favorable al crecimiento intelectual, afectivo y emocional de sus miembros, tornndose sin perspectivas positivas, para el vivir. As, nios y adolescentes abandonan sus hogares y pasan a vivir en las calles, y all buscan medios para sobrevivir. La criminalidad entre jvenes progresa de modo asustador y los gobernantes dispensan merecida atencin, al que se refiere, pensar y proponer soluciones que transformen esto escenario. La creacin del Estatuto da Criana e Adolescente (ECA), 1990, es el resultado de uno de estos trabajos que tienen por finalidad resaltar los nios y los adolescentes, a la preocupacin central de la sociedad. Nosotros los musicoterapeutas, adems de terapeutas, somos tambin, agentes proveedores de la salud y por eso, tenemos responsabilidad social con el nuestro pas, deparndonos, con esto contexto social que requiere propuestas e intervenciones, las cuales contribuyan para el cambio de esta realidad. El trabajo de Musicoterapia que se presenta aqu, se desenroll con adolescentes infractores, durante el periodo de un ao, con sesiones semanales, en grupo. El foco principal de la discusin es, a partir, de las anlisis musicales, en las sesiones, entendiendo la manera de SER y ESTAR de estos adolescentes, y como esto espacio de Musicoterapia posibilit un colocarse delante de si y del otro, de manera ms conciente y menos estigmatizada, a travs de la msica. Esto estudio preocupase tambin con las cuestiones, de cmo estos adolescentes se apropian de la msica, y de los instrumentos musicales y de esta forma, tornndolos perceptiblemente personas con libertad para se expresaren. 5. Nombre de los autores: Sheila Volpi: Graduacin en Musicoterapia en la Facultad de Educacin Musical de Paran, actual Facultad de Artes de Paran; Maestra en Educacin por la Pontificia Universidad Catlica de Paran; Especialista en Psicodrama Pedaggico, por la Sociedad Paranaense de Psicodrama; Profesora en el curso de Graduacin en Musicoterapia.
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Ana Letcia Zacharias dos Santos: Acadmica del 4 Ao de Musicoterapia Facultad de Artes de Paran Curitiba Brasil. Pasanta en hospital, Deficiencia Visual y en el contexto social, en el Programa de Erradicacin del Trabajo Infantil (PET).

Mariana Gomes Godinho de Castro: Acadmica del 4 Ao de Musicoterapia Facultad de Artes de Paran Curitiba Brasil. Pasanta en hospital, salud mental y con menores de riesgo personal y social en Institucin Casa-Lar. Juliane Neves Fiorezi: Acadmica del 4 Ao de Musicoterapia Facultad de Artes de Paran Curitiba Brasil. Pasanta en hospital, en Deficiencia Visual y con menores de riesgo personal y social en Institucin Casa-Lar. 6. Contacto: Sheila M. O. B. Volpi Calle: Joo Antnio Xavier, 860, apartamento 20 Cep: 80620 - 360 Telfono: (55) (41) 33325552 / 55 (41) 99914528 Fax: (55) (41) 33325552 e-mail: sheila_volpi@hotmail.com

296

MUSICALIDAD EN LA MUSICOTERAPIA: UNO ESPACIO DE DIALECTO ENTRE MUSICOTERAPEUTA Y CLIENTE


Clara Mrcia Piazzetta
RESUMEN Ese paper ven proponer una reflexin sobre la interaccin musical entre musicoterapeuta y cliente. Lo conceito de musicing musicalidades en accin descrito, favorece la compreensin de la Musicoterapia como un espacio comunicacional de lenguajar, de emocionar, y as repleto de intencionalidad e sentidos emergentes. Palabra importante-: Musicoterapia, musicalidad, escucha musicoteraputica, lenguajar, Musicing ABSTRACT This paper present one reflection about musical relationship between musicterapist and cliente. The presentation the concept of musicing musicality in action permit the understanding Music Therapy since un communicational space for to language, for to excite and, therefore full of intentionality and meaning come up. Key words Music Therapy, Musicality, Music Therapy listen, to lenguague, Musicing Este paper desarrolla-se por los estdios de trabajos clnicos musicoterapeuticos en construccin interativas, donde, musicoterapeuta e cliente estabelecem un campo comunicacional inmerso en las interaes sonoras, musicais, verbais y corporais. De esta manera, Msica na la Musicoterapia no es um objeto a la disposicin de lo musicoterapeuta a fin de lograr objectivos clnicos. Ella ocurri en lo setting por el movimiento de las musicalidades de lo cliente y musicoterapeuta y as en ese ambiente relacional recursivo y consensual, la msica no es una lenguaje en los padres de significante e significado pero si, permite la efectivacin de un dialecto. Con eso, la construccin de los significados se da por los sentidos emergentes en el instante de la interaccin. Musicing, as, es un repensar la Msica en las accion humanas y musicalidad en accion permite lo significar-haciendo. El obra, La Biologa de lo conocer de Maturana & Varela (2001) presenta el conceito de dialecto y defende la vida es un procesos de conocimiento, donde, vivimos porque conocemos e conocemos porque vivimos. Esta reflexin sobre lo musicing y lo dialecto posibilita un re-significar del campo de comunicacin de la Msica en Musicoterapia. This work is developed from musictherapeutic clinical work studies in interactive cosntructions, where musictherapist and client establish a comunication space imerged in sound, musical, verbal and corporal interations. This way, music in music therapy, in not an object in the musictherapist1s disposition to get to determined clincal objectives. It happens in the setting through the movement of both therapist and clients musicianship and so in this relational enviroment, music is not a language in the standarts of signicant and mening but it allows a lenguage effectivation. With that the meanings are construct from the emerged feeling in the moment of the interation. The work, Know Biology by Maturana & Varela (2001), contains the language concept and defends that live is a knowledgment process, where we live because we know and we know because we live. This reflection about musicing and the languege turns possible a re-signify of the comunication camp of music in music therapy. PIAZZETTA, Clara Mrcia

297

MUSICALIDAD CLNICA Y LA CONSTITUCON DE LO MUSICOTERAPEUTA COMO UN SER MUSICAL-CLNICO


PIAZZETTA, C. M. de F. - CRAVEIRO DE S, L.
Resumen Este trabajo surgi de los cuestionamentos sobre la prctica clnica del investigador. Presenta los resultados de una investigacin cualitativa sobre la musicalidad del musicoterapeuta. El discusin revela la esencia transdisciplinar de la Musicoterapia y el musicoterapeuta como un ser musical clnico; suya musicalidad clnica est compuesta del musicalidad, habilidad musical y escucha musical y clnico. palabra-importante-: Musicoterapia, Msica, musicalidad, musicalidad clnica, transdisciplinaridad. Abstract: This work emerging from primitive questions about the researchers clinical practice, introduces the results of a qualitative research about the musictherapists musicality. The discution of the results reveals the transdiciplinary essence of Music Therapy and the musictherapist as a clinical musical being; its clinical musicality (clinical musicianship) is composed of musictherapists musicality, musical ability and listens musical and clinical. Key-words: Music Therapy, Music, musicality, clinical musicality, trandisciplinarity.

Este trabajo presenta un estudio sobre la musicalidad del musicoterapeuta, tomando como base concepciones relacionadas con el tema, presentes en la literatura de la Musicoterapia. Derivado de interrogantes sobre la prctica clnica del investigador, este estudio procura proponer otra posibilidad de comprensin sobre la escucha musical clnica y la produccin musical clnica del musicoterapeuta en el setting musicoteraputico. Se basa en la Teora de la Complejidad, Biologa del Conocer y Musicoterapia contempornea. Esta investigacin cualitativa muestra un mecanismo para entender el fenmeno tridico musicoterapeuta, cliente y msica dentro de la dimensin del contexto clnico musicoteraputico. Cinco musicoterapeutas cooperaron con la investigacin, as como sus co-terapeutas y sus clientes. El trabajo de campo se desarroll en dos reas: en la primera, la musicalidad de la investigadora fue objeto de estudio; en la segunda parte, la recoleccin de datos fue realizada a travs de entrevistas con los musicoterapeutas y sus co-terapeutas sobre el tema musicalidad clnica. La discusin de los resultados revela la esencia transdisciplinar de la Musicoterapia y al musicoterapeuta como un ser musical clnico que utiliza su musicalidad para actuar profesionalmente en los espacios clnicos relacionales. Estos espacios, presentan caractersticas recursivas y consensales de cooperacin recproca, entre el musicoterapeuta, co-terapeuta, cliente(s) y la msica. De esta forma, la musicalidad clnica se muestra, como constituyente de la identidad profissional del musicoterapeuta, este ser musical-clnico.

This work introduce a study about the musictherapists musicality. From conceptions, that can be found in the Music Therapy literature, related to the theme. Emerging with primitive questions about the researcher clinical practice. The reported study have as the point offet another possibility of understanding the musictherapists clincal musical listening and player at the setting. Founded in the Complexity Theory, the Know Biology and the Contemporary Music Therapy. This qualitative research shows a new mechanism of understanding the triadic phenomenon musictherapist, client and music the dimention of Music Therapy clinical context. Considering the participation of five colaborators, and the respective co-therapist and clients for each one the camp research was mode in two parts. In the first the musicalitys research was analiseted. In the second using interview, clincal material record in VHS and discutions between all the involved about the theme: clincal musicality. The results discution reveal the transdiciplinary essence of Music Therapy and the musictherapist as a clinical musical person who use his musicality in the job in the clincal space that show recursive and consensual caracterstcs of coperation reciproc between musictherapist, co-therapist, client and music. Clinical musicality can be revealed as a constitutive identity of musictherapist this clinical musical person something.

PIAZZETTA, C. M. de F. ; CRAVEIRO DE S, L.

Direccin: Av. Mal. Humberto de Alencar Castelo Branco, n 626. Cristo Rei, CEP 82.530-020. Curitiba PR -BR. Tel: (41) 3262-4428 email musicoterapia.atendimento@gmail.com

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El ritmo del goce. Un caso de autismo


Esteban Daniel Lago - Aracelli Marchesotti:
Resumen: A partir del estudio de un caso de autismo se ubica la lgica que sostiene las intervenciones musicoteraputicas y su articulacin con otras disciplinas en el contexto de un trabajo transdisciplinario. La validez y eficacia del recurso musicoteraputico habilita el alivio del padecimiento del sujeto tendiendo a la produccin subjetiva. Descripcin: A partir de la presentacin del caso clnico de un paciente de 13 aos, con diagnstico de autismo, nos proponemos trasmitir como una misma direccin del tratamiento logra articular, bajo una misma lgica, los recursos e intervenciones propios de la musicoterapia con los de otras disciplinas, como la psicologa, desde la perspectiva de un abordaje transdisciplinario. La especificidad clnica del autismo, nos ubica frente a la necesidad de poder producir un corte en el continuo estereotipado del paciente, de introducir la dimensin de un objeto y de que el sujeto pueda establecer un vnculo y dirigirse a un otro, sin la necesidad anularlo y sin sentirse invadido por l en el desencadenamiento de las crisis. En el caso clnico que nos ocupa vemos como a partir de su experiencia con la materia sonora el paciente logr establecer una primer diferencia como efecto de un corte, de un silencio, que le permiti oponer un sonido a otro y con ello la posibilidad de articularlos y de hacer una serie, una primera estructura con un principio y un fin. Se produjo entonces un primer ordenamiento que le permiti una organizacin temporal que a su vez puedo ser llevada a lo espacial. Por medio de los instrumentos musicales result posible introducir la dimensin de un objeto, separado del cuerpo. Realiz un desplazamiento desde la voz hacia instrumentos, a la vez que estos cobraron un valor de intercambio, ubicando a un otro como partenaire en sus producciones sonoras. Este estudio de caso nos permite ubicar la oferta y las distintas intervenciones musicoteraputicas, a partir del recurso sonoro-musical, que permitieron el despliegue de un trabajo psquico del paciente a lo largo de un proceso teraputico y su articulacin con las de otro profesional psiclogo, para poder pensar la lgica que soporta un trabajo transdisciplinario.

Biografa de los Autores: Lic. Esteban Daniel Lago: Actualmente es Director de la Sede Capital y del Centro de Estimulacin Temprana del Centro Agalma. Coordinador del Equipo de Musicoterapia del Hospital Durand. Docente de la Universidad del Salvador, Facultad de Medicina, Carrera de Musicoterapia. Docente del Instituto Tessa, Carrera de Tcnico en Salud especializado en Psicomotricidad. Lic. Aracelli Marchesotti: Actualmente es Directora la Sede Capital del Centro Agalma. Miembro del Equipo de Consultorios Externos Infanto-Juvenil del Hospital lvarez. Docente de la Universidad de Buenos Aires, Facultad de Psicologa. Contacto: Lic. Esteban Daniel Lago, Direccin: Aranguren 561 PB A Cap. Fed., Telfonos: 4903-2888 / (15)5757-8026, Mail: lago@argentina.com

The rhythm of jouissance. A case of autism

Summary: In the interdisciplinary treatment of autism, the therapeutic resources of the music therapy involved the voice, to permit thus, a psychic work and promoting a change in subjective position on the patient. Description: We propose to transmit the orientation of a treatment of the autism, articulating the resources and interventions of the music therapy and the psychology, from an interdisciplinary perspective. The specific resource of the music therapy is about the sonorous matter, his musical organization and the imaginary dimension of the body. This makes possible that the patient is capable of developing a psychic work accompanied by a therapist. In the treatment of the autism is it necessary produces a change in the repetitive behaviors and stereotypes and to achieve that the therapist turns in partenaire of the patient, to get connected with him without annulling it, and without feeling invaded in the unleashing of the crises. In his experience with the work on the sound, the patient can find a difference, which allows oppose a sound against other and with it, the possibility of articulating them and make series, a first structure with a beginning and an end. It will be able to produce the first arranging that there allows him a temporary organization that could be taken to a spatial organization. Through musical instruments is it possible to introduce the dimension of an object, separated from the body. A displacement can take place from the voice towards instruments, simultaneously; these receive an exchange value, locating another as a partenaire in his sonorous productions. These are just some of the reasons that allow us to think about 2he sonorous - musical matter as a therapeutic valid resource in the clinic t 99 treatment of the autism.

Voice Forum: The Voice as Primary Instrument in Music Therapy


Sanne Storm - Sylka Uhlig
Abstract and description: The purpose of the Voice Forum is to unite music therapists working with the voice as a primary instrument in research and clinical practice, and to focus on the importance of the human voice as an instrument in music therapy. The human voice is our earliest, most unique, and most natural instrument for primary expression and communication in every culture. People all over the world express themselves primarily through their voice. The experience of using the human voice as an instrument for primary expression in therapy can be essential for a clients process. To do voice work involves awareness and consciousness of what the body can reveal. While vocalizing, an intimate connection is made to breath, body and emotion. The human voice can be considered a tool for assessing ones deepest self, embodying our psychological and physiological state, attempting integration of hidden feelings. It is therefore fundamental for the therapists professional development to reflect and discuss the different elements connected to voice work within a therapeutic setting. A therapist who is using her/his voice within a therapy setting needs to know, and be aware of the effect and impact of the human voice. Through exploration of the dialogue between therapist and client, there is a key for free, authentic expression, where awareness and understand is present. By focusing our attention on the sound and expression of the human voice itself, away from the words, the human voice becomes a tool in itself for orientation and information both to ourselves and others. This Voice Forum is a symposium and will contain both workshops and panel discussions during the conference days. The symposium will invite voice pioneers within music therapy such as Diane Austin, Lisa Sokolov, Joanne Loewy, Annette Cramer, Silvia Nakkach, Inge Nygaard Pedersen, and others to present and discuss papers focusing on the facet of the Voice as Primary Instrument in Music Therapy. Sanne Storm will present her research project: Research into the Development of a Voice Assessment Tool in Music Therapy focusing on the listening perspectives, and Sylka Uhlig will present excerpts of her book Authentic Voices, Authentic Singing: A Multicultural Approach to Vocal Music Therapy. During the panel each presenter will have 30 minutes to address the subject. During the symposium the presenters decide about what kind of workshop they want to give. The different papers/workshops will have either a research or clinical approach, or be reflections on teaching music therapy students body and voice work directed towards voice as a primary instrument in music therapy. The symposium will end with a final panel discussion where the audience will be encouraged to join in a dynamic discussion about the subject. Presenters names and biography: Sanne Storm is MA in Music Therapy, graduated from Aalborg University, Denmark 2002. Currently she is doing her doctoral research half time on "Research into the development of a Voice Assessment Tool in Music Therapy" at Aalborg University, Denmark. She works as a music therapist at Psychiatric Hospital, Trshavn, Faroe Islands, both with adults, children and youth. Sanne has specialized in Therapeutic Voice Work and is teaching "Body- and Voicework" and "Clinical Voicework" in the Music Therapy training program at Aalborg University. She has worked with body and voice- work since 1998, and completed af two-year pedagogic course in voice training in 2004. Sylka Uhlig Sylka Uhlig, MA, LCAT, RMTh: Registered + Licensed Music Therapist (NL+USA) - BC HAN University for Professional Education Nijmegen, (1993, NL) - Voice & Body Work Training (1995) - Music Therapist at Psychiatric Hospital, Individual and group work trauma treatment & forensic rehabilitation (1991-1999, NL) - Private Study Oriental Music and Art Therapy Oruc Gvenc, Istanbul, (1998 Turkey) - MA at New York University Music Therapy, specialty of multicultural use of voice (2000, USA) - Music therapist Board of Education New York City, special education program and Heartsong Inc. (2001-2005 USA) Lecturer music therapy and Faculty Member of HAN University, Nijmegen, (since 2005, NL). Contact: Sanne Storm Grnlandsvegur 63 B FO-100 Trshavn Faroe Islands Telephone: + 298 321468 or + 298 273826 e-mail: sane@storm-musikterapi.dk Sylka Uhlig Semarangstraat 20 3531RJ Utrecht Netherlands Phone: 31-30-2943843 e-mail: Sylka.Uhlig@han.nl

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Proyecto MAME Musicoterapia en el Amamantamiento Materno Exclusivo.-un ensayo clnico randomizado.


Martha Negreiros de Sampaio Vianna - Albelino Silva Carvalhaes
Resumen: Presentacin de los resultados de la investigacin realizada en la Maternidad-Escuela de la Universidad Federal de Ro de Janeiro / Brasil, con las madres y/o familiares de criaturas prematuras ingresadas en la Unidad de Neonatologa (Unidad de Tratamiento Intensivo, Unidad Intermediaria y Alojamiento Madre-Canguro). El tipo de estudio es un ensayo clnico randomizado, prospectivo y controlado, cuyo objetivo primario ha sido evaluar la eficacia de la musicoterapia en aumentar la superioridad del amamantamiento materno exclusivo entre madres de recin nacidos prematuros a los sesenta das despus del alta hospitalaria de la criatura. Descripcin: Este proyecto de investigacin se est realizando desde el ao 2000, fecha en la que se hizo un estudio piloto y luego un pre test, etapas que preceden al encaminamiento al Comit de tica em Pesquisa (CEP) del Instituto de Puericultura e Pediatria Martago Gesteira de la Universidad Federal de Ro de Janeiro, habiendo sido aprovado el 21 de enero de 2002. El tamao de la muestra (n=103) y los datos recolectados, tras la firma de los Trminos de Consentimiento Libre y Esclarecido por los sujetos de la poblacin, o sea, aquellas mujeres cuyos hijos ingresados en la Unidad de Neonatologa han nacido con peso igual o inferior a 1750 gramos. La atencin es, con la frecuencia de tres sesiones semanales de sesenta minutos. Los sujetos de este estudio han participado, como mnimo, de tres sesiones de musicoterapia. A partir de dicho estudio, se propone una metodologa para la clnica musicoterpica en este rea especfica. El anlisis del banco de datos y la discusin de los resultados se estn concluyendo y han de ser objeto de la disertacin de mster para el Programa de Clnica Mdica (Salud del Nio y del Adolescente) de la Facultad de Medicina de la Universidad Federal de Ro de Janeiro en enero de 2008. Cabe sealar que los fundamentos tericos tienen sus bases en el campo de las intervenciones precoces en Salud Mental. Nombre y datos de los autores: Martha Negreiros de Sampaio Vianna Musicoterapeuta graduada por el Centro Universitrio del Conservatrio Brasileiro de Msica / Rio de Janeiro en el ao 1980. Especialista en Psicoanlisis por el Crculo Brasileiro de Psicanlise en el ao 1988. Mster por el Programa de Clnica Mdica (Sade da Criana e do Adolescente) de la Facultad de Medicina de la Universidad Federal de Ro de Janeiro. Profesora del Curso de Especializacin en Musicoterapia del Conservatrio Brasileiro de Msica / Rio de Janeiro. Musicoterapeuta de la Maternidade-Escola da Universidade Federal do Rio de Janeiro. Musicoterapeuta del Hospital Psiquitrico Municipal de Niteri / Rio de Janeiro. Musicoterapeuta clnica. Albelino Silva Carvalhaes Musicoterapeuta graduado por el Centro Universitrio del Conservatrio Brasileiro de Msica en el ao 2002. Especialista en Ateno Integral Sade Materno-Infantil por la Universidad Federal de Ro de Janeiro en 2007. Musicoterapeuta de la Maternidade-Escola da Universidade Federal do Rio de Janeiro. Musicoterapeuta del Hospital Psiquitrico Municipal de Niteri / Rio de Janeiro. Musicoterapeuta clnico. Contacto: Martha Negreiros. Rua Lopes Trovo, 88/703 - Niteri, Rio de Janeiro, Brasil CEP 24220-071. Tel.: (21) 2245-2744. Cel.: (21) 8141 -5026. Correo electrnico: negreiros@me.ufrj.br

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Music Technology. A practical workshop exploring music technologies and their potential application in therapeutic settings.
Kate Heath
Abstract This workshop will give a hands on experience of using Soundbeam and some other music technologies. There will be an overview of Soundbeam, and an introduction of its use in different clinical settings with practical hands on opportunities. The workshop will respond to issues and questions you might have such as: Do some music technologies help or hinder in the building a therapeutic relationship? What are the possibilities of using music technology in different clinical settings? What are the levels of flexibility or rigidness of some technologies and how might different client groups find ways to use them effectively? What are the potential obstacles of working in a clinical situation with technology? This workshop is aimed at music therapists who are interested in widening their understanding and knowledge about how music technology can impact on the effectiveness of their clinical work. Kate Heath is a UK Music therapist employed by Sutton and Merton Primary Care National Health Service Trust. The Music Therapy department there has a long history of offering therapy and support to adults with a wide variety of learning, physical disabilities and mental health needs within a comprehensive multi-disciplinary residential setting. Kate is co coordinator of the UK Association of Professional Music Therapists (APMT) Technology Special Interest Group. For the last 20 years she has also worked as an artist in education and is a founder member of pianocircus. kate.heath@homechoice.co.uk

Tecnologa de la msica Un taller prctico que explora las tecnologas de msica y su aplicacin potencial en ajustes teraputicos. Este taller dar una manos en la experiencia de utilizar Soundbeam y algunas otras tecnologas de msica. Habr una vista general de Soundbeam, y de una introduccin de su uso en ajustes clnicos diferentes con manos prcticas en oportunidades. El taller responder a asuntos y le pregunta quizs tenga como: Ayudan algunas tecnologas de msica o dificulta en el edificio una relacin teraputica? Qu es las posibilidades de utilizar la tecnologa de msica en ajustes clnicos diferentes? Qu es los niveles de la flexibilidad o la rigidez de algunas tecnologas y cmo puede los grupos diferentes de cliente encuentran que las maneras de utilizarlos efectivamente? Qu es los obstculos potenciales de trabajar en una situacin clnica con la tecnologa? Este taller es apuntado a terapeutas de msica que son interesados a ensanchar su comprensin y el conocimiento acerca de cmo tecnologa de msica puede impresionar en la eficacia de su trabajo clnico. Brezo de Kate es un terapeuta del RU de Msica empleado por Sutton y Merton Primarios Cuida la Confianza Nacional de Servicio de Sanidad. El departamento de la Terapia de Msica all tiene una historia larga de ofrecer la terapia y el apoyo a adultos con una gran variedad de aprender, las incapacidades fsicas y las necesidades mentales de la salud dentro de una colocacin residencial, multidisciplinario y completa. Kate es co coordinador de la Asociacin del RU de Msica Profesional Terapeutas (APMT) la Tecnologa Grupo de presin Especial. Para los ltimos 20 aos que ella tambin ha trabajado como un artista en la educacin y es un miembro fundador de pianocircus. kate.heath@homechoice.co.uk

302

Tcnicas psicomusicales con instrumentos de percusin para el aprendizaje de la tica


Ivn Snchez Constantino
Resumen El uso de tcnicas psicomusicales con instrumentos de percusin para el aprendizaje de la tica, est basado en la propuesta que se desprende de la metodologa de Formacin Musical Creativa que a su vez est inspirada en los principios que surgen del I Ching y la Transformacin Creativa de Jhon David Garca. Esta propuesta surge como una accin por la no violencia y la convivencia creativa, amorosa y pacfica. Descripcin En el corazn de toda cultura hay un sistema de valores o tica estructurados con supuestos sobre la realidad. Las relaciones entre los seres humanos son el espejo de las creencias individuales y del conjunto de ideas que predominan en la sociedad. El modelo econmico dominante que demuestra su esencia deshumanizante, la creciente tendencia a la especializacin y a la individualizacin perniciosa que se muestra con su rostro ms violento en la constante accin destructiva del medio ambiente, nos dan cuenta de la situacin del ser humano actual y de cual es la desafortunada direccin que est tomando la vida en las urbes y la situacin del planeta en general. La insistencia por parte de los sistemas educativos en recargarse excesivamente en los procesos intelectuales para el aprendizaje de los valores ticos que se basan principalmente en campaas informativas o cursos escolares que no involucran al estudiante como un ser humano integral, demuestran a travs de los resultados que la realidad cotidiana nos aporta, su clara ineficiencia. El uso de tcnicas psicomusicales con instrumentos de percusin para el aprendizaje de la tica, est basado en la propuesta que se desprende de la metodologa de Formacin Musical Creativa que a su vez est inspirada en los principios que surgen del I Ching y Transformacin Creativa de Jhon David Garca. Esta propuesta tambin se nutre de algunas tcnicas de la Musicoterapia Humanista y la meditacin de lnea taosta. El aprendizaje de la tica utilizando la msica como va que involucra a la persona en su totalidad inici en 1998 a travs de talleres y crculos de percusin con adolescente y jvenes. Los resultados an son pobres dado el nmero de practicantes, la falta de apoyo econmico y difusin, y la juventud de la propuesta metodolgica que por razones obvias se encuentra en proceso de formacin.

Nombre Ivn Snchez Constantino Nios Hroes No. 17 San Pablo Xalpa Tlanepantla Estado de Mxico C. P. 54090 Telfono 01 55 53 82 36 57 e-mail ivan@musicoterapias.com Minibiografa Ivn Snchez Constantino. Egresado del Conservatorio Nacional de Msica en el rea de Flauta Transversa. Estudios de Saxofn tenor y composicin en el Instituto Superior de Estudios Musicales. Director del grupo Rumba Abierta. Investigador de la msica y cultura afroamericana. Fundador de Long Feng Instituto de Cultura Oriental. Instructor de Tai Chi Chuan lnea taosta y de sistemas chinos de boxeo, alumno del Prof. Alfredo Vzquez. Estudios de I Ching, alumno del Dr. Florencio Snchez Cmara y el maestro Tao Jen. Director de la revista El Camalen Despierta. Fundador del Crculo del Jaguar Escuela de ritmo y percusin afroamericana. Instructor de Capoeira en la Escuela Yauarete alumno del Mestre Curi, Delei y Mariano. Artista multidisciplinario y creador de macroeventos para espacios abiertos. Actualmente experimenta con instrumentos tnicos y los sonidos del ambiente para la curacin y la creacin de ambientes sonoros saludables. Creador del Mtodo de enseanza- aprendizaje de la msica: Formacin Musical Creativa basado en los principios taostas y el I Ching. Especialidad de Musicoterapia Humanista en el Instituto Mexicano de Musicoterapia Humanista. Instructor de Formacin Musical Creativa, Facilitador de Musicoterapia individual y de grupo en el Instituto Mexicano de Musicoterapia Humanista Title Psycho-musical techniques with percussion instruments for the learning of ethics. Abstract The use of psycho-musical techniques with percussion instruments for the learning of ethics is based on the proposal that emerges from the Creative Music Formation methodology, which is inspired in the principles of the I Ching and the Creative Transformation of John David Garcia. This proposal comes forth as an action for non-violence and a creative, loving and peaceful coexistence. Description At the heart of every culture there is a system of values or ethics structured with assumptions about reality. The relationships between human beings are the mirror of individual beliefs and the set of ideas that prevail in society. The dominant economic model that shows its dehumanizing essence, the growing trend towards specialization and pernicious individualization that shows its more violent face in the continuing destructive action of the environment, this reflects the current situation of the human being and the unfortunate direction that the urban life and the world in general is taking. The constant emphasis that the educational systems give to the intellectual processes for learning ethical values that are based primarily on information campaigns or school courses that do not involve the student as an integral 303 human being, show through the results that everyday reality gives us, its clear inefficiency. The use of psycho-musical techniques with percussion instruments for learning ethics is based on the proposal that emerges from the Creative Music Formation methodology, which is

inspired in the principles of the I Ching and Creative Transformation of John David Garcia. This proposal also feeds on some techniques of Humanist Music Therapy and Taoist school of meditation. Learning ethics using music as a pathway that involves the person as a whole began in 1998 through workshops and drum circles with adolescents and youth. Results are still few because of the number of practitioners, lack of financial support and diffusion, and the youth of the methodological proposal which, for obvious reasons, is in the process of formation.

Name Ivn Snchez Constantino Contact Ivn Snchez Constantino Nios Hroes. 17 San Pablo Xalpa Tlanepantla Estado de Mxico C.P. 54090 Telephone 01 55 53 82 36 57 E-mail ivan@musicoterapias.com

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Music in the silence: Therapy with a man with profound disabilities


Eleanor Richards
Abstract In this paper I shall discuss a 2 year piece of work with a man with profound and multiple disabilities. Although there was almost no conventionally musical interaction, I suggest that it was primarily the innate musicality of both participants that contributed to the process of the work. Description Working with people with profound learning disabilities presents particular challenges. Until relatively recently, music therapy work with this client group has frequently taken the form of activities designed to enhance physical movement, promote relaxation, or assist in the modification of habitual behaviours. This implies a process that seeks the achievement of clear, often primarily physically based objectives. In the last 20 years, however, more wide ranging thinking about the learning disabled person in his/her entirety has come into play. In the UK it is through the work of such clinicians as Valerie Sinason and others that professionals working with people with learning disabilities have become more aware of the potential contribution of psychoanalytic thinking to work in this field. To think psychoanalytically is to think, amongst other things, about relationship, and to see the rebuilding of the capacity and desire, however damaged by trauma, to engage with others as central to the therapeutic project. It also regards the therapeutic encounter itself as essentially improvisational and creative something very familiar to music therapists. So how can this thinking inform our work in music therapy, especially in a context in which one of the participants is not able to be musically active in any usual sense? I will suggest that this work, which took place with an adult client who was functioning at a very early developmental stage, was sustained by an approach which paid close attention to unconscious communication, and to the need to develop a mutual repertoire (of sounds, silences and gestures) which gradually allowed greater spontaneity and intimacy to emerge. Above all it drew, moment by moment, upon the musicality of both participants in responding to elements of pace, timbre, pitch and intensity to give expression to the unfolding complexities of the therapeutic relationship.

Name / affiliations Eleanor Richards Senor Lecturer in Music Therapy, Anglia Ruskin University, Cambridge, UK and Senor Music Therapist, Cambridgeshire & Peterborough Mental Health Partnership NHS Trust

Contact information Eleanor Richards Senior Lecturer in Music Therapy Dept. of Music and Performing Arts Anglia Ruskin University East Road Cambridge England CB1 1PT Tel: 0845 196 2370 Fax: 0044 (0)1223 417707 e.richards@anglia.ac.uk

Biography Eleanor Richards is Senior Lecturer in music therapy; her clinical work is with adults with learning disabilities and mental illness. She is also a psychoanalytic psychotherapist in private practice.
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Communication and dialogue: a large group experience in music and words


Alison Davies - Alison Levinge - Eleanor Richards
Abstract This will be an opportunity for us to share and communicate in a large group, and to explore through improvisation, both musical and verbal, our diverse experiences of being together at this conference. This group, for up to 40 participants, will be facilitated by three music therapists from the UK. Description Being a participant in a large group can be a challenging experience. A conference is in itself a large group in which the individual may not always feel able to find his or her voice easily. This large group workshop, for up to 40 participants, may serve as a setting in which some of these dynamics may be spoken about, or played through and shared in music. The large group has been described as a setting in which feelings may be contained and transmuted into communication. (Behr & Hearst 2005) We feel that the large group has the potential to . give rise to new thoughts and insights of personal and collective nature, accompanied by a range of emotional responses, variously experienced as uplifting, energising or calming. (ibid.) It may also provide a forum for creative and innovative thinking in both music and words. This will be an opportunity to acknowledge our musical and cultural diversity; we hope that this transformative potential space will be an enriching place where the individual and the collective voice may be heard and from which new thoughts and ideas may emerge. We like the idea of this quotation from Behr and Hearst: the most impressive and moving moments in the Large Group occur when the group engages in what can be thought of as collective dreaming: one association follows another without apparent discord, leading to a thoughtful aftermath and a sense of new ideas having been formed. We see collective dreaming in terms of improvised music and the groups free associations to it. This group will be convened by three music therapists, all of whom have an active interest in working with groups and extensive experience of psychodynamic work of this kind. We welcome participants from any linguistic background.

Name / affiliations Alison Davies: Convenor of music therapy experiential groups at Anglia Ruskin University, Cambridge and the Guildhall School of Music and Drama, London. Alison Levinge: Programme Leader, MA Music Therapy, Royal Welsh College of Music and Drama, Cardiff, Wales, UK Eleanor Richards: Senor Lecturer in Music Therapy, Anglia Ruskin University, Cambridge, UK and Senior Music Therapist, Cambridgeshire & Peterborough Mental Health Partnership NHS Trust

Contact information Eleanor Richards Senior Lecturer in Music Therapy Dept. of Music and Performing Arts Anglia Ruskin University East Road Cambridge England CB1 1PT Tel: 0845 196 2370 Fax: 0044 (0)1223 417707 e.richards@anglia.ac.uk
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Biographies

Alison Davies is a music therapist and psychoanalytic psychotherapist. Her main interest is in music therapy and group work in mental health. She currently facilitates experiential groups for trainee music therapists. Dr Alison Levinge is Head of Music Therapy training at the Royal Welsh College of Music and Drama, Cardiff. She has a special imterest in teaching and supervision of group work. Eleanor Richards is Senior Lecturer in music therapy; her clinical work is with adults with learning disabilities and mental illness. She is also a psychoanalytic psychotherapist in private practice.

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Singing in the clinic: The Importance of the Popular Culture in Setting Music Therapy.
Rodrigo Dias de Paiva
Sumary: The work presents a detailing of the processes of composition and improvisation of the structures and the musical forms of the Partido Alto style, that was born of the culture afro-Brazilian, indicating that such processes possess a clinical power that can offer to instruments for the improvisation techiniques and composition in the music therapy clinic.

Description: Partido Alto is a samba style where the participants invent verses in the hour where they are singing, the improvisation in its great majority are verses of the daily one, subjects of day-by-day. It is a sort of singing and, for times, it is also a challenge form. The melodies have in its origins a mixolidia structure that arrived until the samba of Partido Alto through music northeastern, are melodic lines that already they follow a standard rondo, where its harmonic base come to leave a tonal center more allowing that the cantador has its improvisation carried through. In special the used harmonic function are of I VI II V the degrees and the rhythmic afro-Brazilian. It will be presented some strategies of this production, evidencing that such musical cultural codes propitiate: security for recognition and belonging, easiness in the manipulation of the musical structures that motivates the improvisation and empathy approach between the participants. Biography of the author Rodrigo Dias de Paiva - Graduating music therapy rodrigodipaiva@yahoo.com.br 11 - 7445-8105

Resumen: El estudio presenta los detalles de los processos de composicin y improvisacin de las estructuras y las formas musicales del estilo Partido Alto, que naci de la cultura Afro-brasilea, lo que indica que estos procesos tienen una potencia clnica que pueden explotar las tcnicas de improvisacin y composicin en la clnica musicoteraputica. Descripcin: Este proceso est pesquisado a partir de la cultura popular brasilea teniendo como disparador el gnero musical Partido Alto, nacido en Rio de Janeiro en las casas de las Tias Baianas por meados de final del siglo XIX. Se constat que en la prctica brasilea siempre hay una influencia folclrica que proporcionan una intensificacin y mayor fluidez en los dilogos musicales potencializando la dinmica musicoteraputica tanto en lo que respecta a relacin del cliente con la prpia msica, como en la dinmica musicoterapeutamsica-cliente. De este modo, el estudio apoya la importancia de la msica popular para la clnica musicoteraputica indicado algunas potencialidades clnicas que son generadas por ella.

308

Msica, Educacin y Sociedad: una visin transdisciplinar en Musicoterapia.


Paula Alicia Meliante Gonzlez - Mariana Cardoso Puchivailo - Sheila Volpi - Jos Roberto Neves DAmico
RESUMEN: Este trabajo busca discutir la posibilidad e importancia de la Musicoterapia ser promotora de sujetos capaces de ejercer su autonoma y autogestin, o sea, conciencia y responsabilidad de si, siguiendo una visin transdisciplinar. Se propone un dilogo integrando la Musicoterapia en el contexto social con Filosofa y Educacin. DESCRIPCIN: La Musicoterapia como ciencia es considerada por algunos musicoterapeutas, como interdisciplinar (CHAGAS, 2001) y por otros hbrida (COELHO, 2002). Actualmente se presenta siguiendo una perspectiva transdisciplinar, dialogando con varios campos de conocimiento. De esta forma, Filosofa, Educacin, Psicologa, Msica, como otros, se han entrelazado formando un tejido que contribuye para el crecimiento conceptual de todos. Este trabajo, dentro de una visin transdisciplinar, suscita discusiones sobre la accin musicoterpica en el contexto social. Existe una relacin evidente entre la educacin y la formacin de una sociedad. (GALLO, 1995). Actualmente, la educacin procura uniformar los sujetos, formando individuos adiestrados y tiles. (PASSETTI, 2003; DAMICO, 2007) Desde pequeas las personas son educadas para obedecer, aceptando las autoridades superiores como verdades incuestionables. Consideramos necesario analizar crticamente el paradigma educacional vigente considerando la educacin tanto formal como informal y compararlo con el paradigma de la educacin libertria, que pretende promover el ejercicio de autonoma y la autogestin del sujeto. El objetivo de este trabajo es: discutir por medio de revisiones bibliogrficas, cual seria la finalidad y el sentido de la prctica musicoterapeutica resaltando la importancia de poseer una definicin crtica, tanto filosfica como polticamente clara que oriente nuestras intervenciones, una vez que nuestro papel social se vuelve cada vez ms evidente. Buscamos entender si la msica, y especficamente la Musicoterapia como campo de conocimiento terico y prctico, puede ser una herramienta importante que posibilite el ejercicio de autonoma respetando las individualidades. Este tipo de discusiones ciertamente enriquecern la teora y practica musicoterapeutica. Paula Meliante pertenece al Programa de Iniciacin Cientfica de la Facultad de Artes de Paran, bajo la orientacin de la Musicoterapeuta Sheila Volpi, recibiendo beca de la Fundacin Araucaria, CNPq. FORMACIN ACADEMICA: Paula Alicia Meliante Gonzlez.- Tcnica en Enfermera. Actualmente cursando 3 ao de Musicoterapia en la Facultad de Artes de Paran, Brasil. Becaria de la Fundacin Araucaria, CNPq, con participacin en el Proyecto de Iniciacin Cientfica (PIC), con orientacin de la Musicoterapeuta Sheila Volpi. Mariana Cardoso Puchivailo - Actualmente cursando 3 ao de Musicoterapia en la Facultad de Artes de Paran, Brasil. Cursando 2 ao de Psicologia en la Universidad Federal de Paran. Sheila Volpi Graduacin en Musicoterapia en la Facultad de Educacin Musical de Paran, actual Facultad de Artes de Paran. Maestra en Educacin por la Pontificia Universidad Catlica de Paran. Especialista en Psicodrama Pedaggico por la Sociedad Paranaense de Psicodrama. Jos Roberto Neves DAmico Graduacin en Filosofa en la Pontificia Universidad Catlica de Paran. Concluyendo Maestra en Filosofa en la Pontificia Universidad Catlica de Paran. CONTACTO Paula Alicia Meliante Gonzlez Direccin: Amazonas 1030 ap 22B. Agua Verde. Curitiba-Paran. Brasil. Cdigo Postal: 80610-030. Tel: 55 41 3345 2387. e-mail: lurry27@yahoo.com

1. TITLE: Music, Education and Society: a transdisciplinary vision in Music Therapy. 2. RESUME: This work intends to discuss the possibility and importance of Music Therapy as a promoter of subjects able to exercise their autonomy and self-government, their conscience and own responsi09 3 bility, according to a trans-disciplinary vision. It proposes a dialogue that integrates Music Therapy into a social context, Philosophy and Education.

3. DESCRIPTION: Music Therapy as a science is considered by some music therapists as interdisciplinary (CHAGAS, 2001) and for others as a hybrid (COELHO, 2002). Presently Music Therapy is presented in a trans-disciplinary perspective, exchanging ideas with several fields of knowledge. Therefore Philosophy, Education, Psychology, Music, and others, entwine forming a network that contributes for a conceptual growth of all these fields. This work, in a trans-disciplinary vision, raises the debate about the Music Therapy action in a social context. There is a clear relationship between education and the construction of a society (GALLO, 1995). At the present moment, education seeks the uniformity of subjects, shaping trained and useful individuals. (PASSETTI, 2003; DAMICO, 2007) Since childhood, people are educated to obey, accepting the superior authority without questioning it. We consider necessary a critical analysis of the current educational paradigm, considering formal and informal education, and a comparison with the paradigm of liberty education, that seeks the exercise of the subjects autonomy and self-government. The aim of this work is to discuss through bibliographic revisions the purpose and sense of the music therapy practice, emphasizing the importance of having a critic definition that is philosophically and politically clear, that will orient our interventions, since our social role becomes more and more evident. In this work we attempt to understand if music, and specifically Music Therapy, as a field of practical and theoretical knowledge, can be an important tool that enables the exercise of autonomy respecting the individualities of the subjects. This type of discussion can certainly enrich the practice and theory of Music Therapy. Paula Meliante is at the Program of Scientific Iniciation at the Art College of Paran, with the orientation of the Music Therapist Sheila Volpi and received a scholarship from Araucaria Foundation, CNPq.

310

Music Therapy in a large rehabilitation center: a model of successful partnership.


Sandra de Moura Campos Oliveira - Renata Cereda Cordeiro - Cristiane Amorososino
Abstract: Currently, institutions have been setting up formal partnerships, involving cooperation activities that fulfill partners expectations. Both organizations have as goal to develop dynamic purposes that allow complementary work with advantage for each part. This paper describes the implantation of a project of partnership between two institutions and its preliminary outcomes. Description: CONTEXT/JUSTIFICATION: in 2006, a project of partnership was carried out between the Reabilitation Center Lar Escola So Francisco (LESF) and the Faculty of Arts Faculdade Paulista de Artes (FPA), State of So Paulo, southeast of Brazil. LESF is a philanthropic entity and a reference center for physical rehabilitation of So Paulo. FPA is a college in which Music Therapy is one of its several undergraduate courses. The purpose of partnership consisted of introducing Music Therapy (MT) as a new therapeutic modality in this rehabilitation center. Currently, diverse professional areas act in the interdisciplinary context with the goal to share this diverse knowledge. MT is a therapeutic modality that can be integrate to other disciplines in the challenges of prevention, cure and rehabilitation of a several young and older persons impairments, disabilities and handicaps. METHODS: LESF attributions in the project included: (1) to concede some available therapeutic settings; (2) a office room destinated to the supervisor of practical clinic teaching; (3) administrative material and (4) directing patients. FPA attributions were as follow: (1) to supply musical instruments; (2) sound devices, (3) devices maintenance and repair; (3) trainees and the supervisor during the period of training. The patients are directed for the MT Department after indication came from LESF teams. The trainees have the responsibility of conducting interviews, assessment and appropriated supervised treatment sessions. The once-weekly MT sessions range from 45 up to 90 minutes. All patients are also usually submitted to the evaluation tools applied by each LESF expert team (cerebral palsy, elderly, amputees, hemiplegics, aphasics, orthopaedics). PRELIMINARY OUTCOMES: 18 trainees participated in this project. The LESF departments involved were Physical Medicine, with several teams and Gerontology. The trainees conducted 41 assessements and a total of 305 MT treatment sessions. Authors: Oliveira, SMC; Cordeiro, RC; Amorosino, C. Presenter name(s) and affiliation(s): Sandra de Moura Campos Oliveira Graduation in Music Therapy. Renata Cereda Cordeiro - Graduation in physical therapy and Master in Sciences. Cristiane Amorososino - Graduation in Music Therapy and Master in Development Disorder.

Contact: Address: Lar Escola So Francisco - Rua dos Aores, 310, Jd. Luzitnia, 04032-060 So Paulo (SP) Brazil. Phone/Fax: 55 (11) 59048041 E-mail: oliveirasandra@gmail.com Mini Biography: Sandra de Moura Campos Oliveira - Music Therapist. Attending the Master Program in departament of the Rehabilitation of the Universidade Federal de So Paulo (UNIFESP EPM). Coordinator and Professor of the undergraduation course of the Music Therapy at the So Paulo Facult of arts (Faculdade Paulista de Artes - FPA). Publications Co-author of the Article Msica e Neurocincias, published in the Revista Neurocincias, edited by the Universidade Federal de So Paulo, Disciplina de Neurologia da Escola Paulista de Medicina, Volume 8, Nmero 2, agosto de 2000.

311

Music therapy in the treatment of patients with Alzheimers Disease.


Clo Monteiro Frana Correia - Sandra de Moura Campos Oliveira
Abstract: To present music therapy as an important therapeutic modality in the process of rehabilitation in patient with Alzheimer's Disease (AD), to stimulate different cerebral areas, in way to contribute for the motive, cognitive rehabilitation and language, besides promoting the wellbeing. Description: Introdution: Music therapy has been described as a form of treatment for patients with Alzheimers Disease (AD). This work comes to corroborate with the literature showing that music therapy is an efficient treatment for those with AD. Method: The procedures involves: anamnese, for the knowledge of the patient's sound-musical history (Benenzon, 1985; Altschuler, 1948); application of simple standardized tests for the evaluation of the cognitive functions (Folstein, et al., 1975) in the absence of a report complete neuropsicologic, and of the depression (Yesavage et al., 1983); evaluation of the musical functions (Correia et al., 1998) and planning of the therapeutic process based on the results of those evaluations. The used techniques, for those patients ones, they are of receptive nature (sound-musical audition), expressive (Benenzon, 1998; 2000) and cognitive (Tomaino, 1998). The conclude of the treatment consists of the patient's revaluations through the mentioned tests. Conclusion: The music therapy work in people with AD has been presenting exciting results, as they show researches in process. Authors: Correia, CMF; and Oliveira, SMC Presenter name(s) and affiliation(s): Clo Monteiro Frana Correia Graduation in Music Therapy and Master in Neurosciences. Sandra de Moura Campos Oliveira Graduation in Music Therapy. Contact: Address: Ru