INTERNATIONAL NEWSLETTER

OF MUSIC THERAPY

VOLUME 4

1986 THE

INTERNATIONAL NEWSLETTER

OF

MUSIC THERAPY

Volume Four -- July, 1986

Edited by

GILLIAN STEPHENS I CMT

Published and Distributed by

The American Association for Mu.sic Therapy 66 Morris Avenue P.O. Box 359 Springfield, New Jersey 0708 1 TABLE OF CONTENTS

FOREWORD ...... 3

NEWS AND NOTES ...... 4

CONFERENCE CALENDAR ...... 11

MORE ON EDUCATION AND TRAINING ...... 12

THREE MOST IMPORTANT TOPICS FOR THE INTERNATIONAL COMMUNITY TO ADDRESS ...... 16

WORLD FEDERATION STUDY COMMITIEE REPORT ...... 19

LOOKING AT THE MUSIC OF MUSIC THERAPY ...... 21

RECENT PUBLICATIONS ...... 2 6 FOREWORD As Editor for the 4th Volume of the Inrernationa1 Ne'\Al'Sletter of Music Therap_x, I have found that my vision has been encouraged to expand, and I have begun to feel responsible beyond t.he boundaries of what is familiar to me. I begin to stretch my awareness to Australia, then to Japan, then Europe, then South America, and so on, as if listening for the unique rhythms and melodies of our various countries. In preparing for this issue, I reviewed the information on music therapy associations, definitions, certification, education and training, publications, etc ., and I renewed my respect for the detail and volume of Dr. Bruscta's work as previous editor for Volumes 1, 2, and 3. I have attempted to follow up on important information by including the section "More on Education and Training,· continuing to list recent publications, and by reporting the latest events in the "News and Notes· section of the Newsletter. I have noted any changes of address or corrections to those associations and training programs listed in Volume 3. I feel it is essential at this time to ask what is most important to us as an international community of music therapists and what, if any, are our common concerns. The responses to this question have become an important segment of this Newsletter. As a music therapist I find my interest al'\Alays moving to the music of music therapy. What are music therapists doing in a11 our different countries? What instruments do they use? What do their songs sound like? What can we learn from hearing about this music? I attempted to formulate a question that was simple and fundamental in order to begin this discussion, although obviously in a ne"'1Sletter these questions cannot be approached in a detailed -way . I felt that in answering the question, "How does the music and/or musical tradition in your country reflect the -way you use music therapy?," we might catch a unique glimpse of the music therapists in our various countries. I am grateful to the music therapists Who took the time to "'1fite and share their individual perspectives on this complex subject. I would like to thank Barbara Hesser for her report on the World Federation of Music Therapy Study Committee from the Fifth World Congress on Music Therapy held in Genoa, Italy in December, 1985. I am grateful also to a11 those 'Who contributed to this issue of the Newsletter by reporting news and information, and I ask for your patience with any mistakes I may have made. Finally, I would like to thank Steve Schneider of the American Association for Music Therapy for his work on the word processing. I hope this volume will prove to be a useful tool to bring us closer togetller--close enough to see our differences as well as our similarities, and to experience, as I have, an expansion of our sense of responsibility and concern W":Alafd each other and the people we serve through music therapy. Gillian Stephens, CMT Editor

3 NEWS AND NOTES

From Australia: Ms . Dianne Allison, National Secretary for the Australian Music Therapy Association, announced Gary Fisher as President of the Association, Ruth Bright as Vice-President, and Margaret Evans as Treasurer as of 1985. The new location of the National Headquarters of the Association is 8 Haig Stroot, Doopdene, 3103, Victoria, Australia.. Mr. Fisher has sent materials in reply to our questionnaire (soo corresponding sections).

From Ar~ntina: Professor Rolando Bienenzon informs us that in 1935 Music Therapy teaching groups led by himself and music therapist Gabriela Wagner were formed. They are aimed for physicians and paramedics who are working in the mental health field. He also announces the III World Congress on The Isolated Child and the I International Symposium of Institutions for the Mentally Disabled organized by the Association for Help for the Isolated Child (A.S.A.N.A.) to be held in Buenos Aires, August 11-15, 198 7 (See Calendar). The Organizing Committee will be grateful for any suggestions, proposals, and names of people and institutions which may be interested in taking part in The Congress. These should be sent before December 20, 1986. Deadline for papers is March 21, 1987. We have been advised that Mr. Ruben Gallardo is the new President of the Asociacion de Musicotherapeutas, Universitarios de la Republica Argentina.

From Austria: Professor Alfred Schmolz sent a reply to our questionnaire regarding "The Music of Music Therapy" (see corresponding section).

From Brazil: Ms. Clementina Nastari of the Associacao Paulista de Musicoterapia (ASPAM) informs us that on May 22, 1985, a decree authorized the Music Therapist Education Course at the "Marcelo Turpinamba" Music College of Sao Paulo (see details in corresponding section of this Newsletter). Ms. Gabriella de Souza e Silve, President of the Associacao Brasileira do Musicoterapia do Rio de Janeiro informs us that the I I I Simposio Brasileiro de Musicoterapia occured in Rio de Janeiro Wit.h the participation of professionals from all over the country as well as professionals from Uruguay and Argentina. According to Ms. de Souza e Silva, papers and communications from the conference -will be published soon. In addition, responses to our questionnaire were received from Ms . Martha Negreiros de Sampa i o Vianna. and Ms . Maria Clarice Schiller (see corresponding section).

4 From Canada: Dr. Anne c. Hall, Acting Dean of Music at Wilfrid Laurier University in Waterloo, canada, announces that the Ontario Ministry of Education has approved their Honours Bachelor of Music Therapy program for funding. Music therapy courses will begin this Spring or Summer, 1986. Details are included in this issue of the Ne\AlSletter.

From France: Dr. Edith Lecourt, General Secretary of the Association Francaise de Music Therapie, announces a month-long workshop (October 1-31, 1986) for foreign participants and especially for foreign music therapists who 'Want to gain an overview and training in specific French music therap}7 techniques, clinical experience, and research. Those interested should contact A. de Reviers, Institut de Formation Permanente, Universite Paris VLL, UER de Sciences Humaine Qinique, 13 rue de Santeuil, 75005, Paris. She also announces a French-speaking Congress scheduled for early 1986, and the formulation of a professional code of ethics for music therapists in France. Dr. Gerard Ducourneau of the Atelier de Musicotherapie de Bordeaux announces the creation of a ''branch edition N called "Les editions de non-verbal· Which \lolill provide texts in the French language concerning the relationship of the non-verbal and verbal. The director of this publication is Mme. Micheline Weinstein, 2 rue Asseline, 750 14 Paris, France. He also sent a description of the course of study for Music Therapy at the Atelier (see "More on Education and Training). We would like to make a correction to the directory in Volume 3 of the International Ne1+1Sletter. The correct name and address is the Atelier de Musicotherapie de Bordeaux, Paul Valery University, Route de Laverune, 3400 Montpelier. Address correspondence to Professor Regis Pouget, c/o Secretary Mme. Pomade.

From Great Britain: Mrs. Amelia Oldf eld, of tlle Association of Professional Music Therapists, as well as Brid McKee, BMus., L.G.S.M.(M.T.), sent replies to our questionnaire (see corresponding section).

From Hong Kong.;. Although at this time Hong Kong does not have a Music Therapy association, Mr. Wance Kwan may be contacted regarding music therapy at the following address: John F. Kennedy Center, 15 Sandy Bay Road, Hong Kong .

From India: Although India does not have a Music Therapy association, we have been informed that the f ollo\loling poople can be contacted regarding Music Therapy in India: .Dr. Padma Murthy, Professor of Music, Head of the .Department of Performing Arts, Bengalore University, 122/C, 8th Main Road, 3rd Block, Ja~.1anagar, :e.engalore - 560011, India; Manas Raychau.dhuri, Rabindra Bharati University, Calcutta University College of Medicine, 136 A. 5 Asutosh Mukherji Road, catcutta - 700 02 5, India.

From Israel: Information \.\13.S received informing us that Mrs. Cliava Sekel es, former chairperson of the Israeli Association of Creative and Expressive Arts Therapies (ICET), is now in charge of international exchange of letters and information. She is also available to give information concerning music therapy in Israel. Her address is .32 Hatayassim St., Jerusalem 92509, Israel. It is explained that the KET is an umbrella association for all arts therapies in Israel. The new chairperson is a dance therapist, Mrs. Yona Levi, Who is also available for information regarding dance therapy in Israel, and can be contacted at Hadassim Boarding School. For art therapy general information, Mr. Perez can be contacted at Leon Blum 2, Haifa. Also announced was a Study Day in Jerusalem for all members of the ICET on 'The Place of Music Therapy in the Treabnent of Multiply Handicapped and Blind Children." The date bas not yet been set. The ICET organized this year (September 1985 - June 1986) tl1e following activities held once weekly for 2-3 hours throughout the year: 1. Adolescence and adult psychiatry (lectures); 2. The Jungian approach to dreams (a workshop for art therapists and music therapists; 3. Self-discovery in movement (a workshop); 4. Cooperation between music therapy and physio-therapy (a workshop with brain-damaged patients); 5. Child development and the arts.

From Italy:: Professor Giovanna Mutti announced the 5th World Congress of Music Therapy organized by the Associazione Italiana Studi di Musicoterapie (A.LS.Mt_} in cooperation with the Asso<:iazione Nazionale Famiglie Fanciulli Adulti Subnormali (A.N.F.F.A.SJ which took place in Genoa, December 9 - 14, 1985.

From bn~an: Professor Hitoshi Sakurabayashi and Assistant Professor Yohji Hayashi, of the Japanese Association of Music Psychology and Therapy, write that their association bas approximately 300 members. During 1985, monthly conferences were held addressing: Dalcroze Eurythmics, Steps antecedent to verbal training, Music therapy 'With autistic, mentally retarded children; Some propos~ls to musicians by a psychiatrist; Historical background of Orff's SchUlwerk; Therapeutic aspects of eurythmy of R. Steiner; Function of music viewed from brain-wav~; Music drama for handicapped children; and Music therapy with a school refusal child. At their annual conference, some topics addressed were: Environmental music in an art museum; Music and cognitive psychology; and Movement/music therapy of Dalcroze system and Orff's Schulwerk. They mention also that the "Annual of Psychology of Music .. 1935" and the "Tokyo 6 Musasino Annual of Music Therapy,· Vol.14, were published.

From Korea: Although · at this time Korea has no Music Therapy association, Mr. Suckjin Yoo, President of the Korean Association for Clinical Art, can be contacted at the following address: c/o Petrus Neuropsychiatric Qinic, -5. 1-KA, Sungbuk-Dong, DUNGBUK-KU, Seoul (F 132), Korea.

From The Netherlands: Mr. T.M. Nagel sends an address correction: llederloundse Vereniging voor Kreatieve Therapie Sektie Mustektherapie, Postbus 236, 1200 AE Hilversum, The Netherlands. In a letter too late for publication in the 1985 International Ne""1Sletter, Mr. F. Bueno de Mesquita, Who is on the board of the Nederlandse Vereniging voor Kreatieve Therapie (llVKT), informs us of a Symposium of Creative Therapy (Music Therapy) as Group Therapy held in 1985. He writes that the NVKT includes drama and art therapists. He also tells us that since 1984, the music therapists of his country are, via the NVKT, associated 'With a workers' union to improve the position of music therapists as workers. They are working toward: 1) a ~ofessional Statute/Regulation· which is an agreement between all professionals in the field of Health Organization saying what are the limits and overlap of Music Therapy with other professions; 2) placing 7i-10rk problems of individual music therapists on a collective level and providing regulations. In addition, the NVKT is working toward a -Permanent Registration· for music therapists which will be higher than the level of students just leaving the authorized courses for music therapy. In the area of research, a -Permanent Research Committee· in Music Therapy has been formed to encourage and supervise research.

From New Zealand: Ne~ about the New Zealand Society for Music Therapy has been received from Mrs. Barbara Lewis. She informs us of their annual conference which was to be in Wellington, April 25-26, 1986. Following the conference, she informs us there were to be two special events: A "Music Skills nay· directed by Mrs. Morva Croxson, and a five-day course presented by Susan Munro on "Music Therapy and Palliative/Hospice care· (April 28-May 2, 1986). She has also written replies to our questionaire (see corresponding sections).

From Norway: Mr. Tonhild Strand Hauge of the Norsk. Forening for Musik.kterapi writes that the Norwegian association has 400 members, of which 40 are practicing music therapists. Although music therapy training programs must be approved by the government, individuals do not need certification /registration to practice muSic therapy in Norway. According to the association, this will change in the near future. Information on training and on publications appears in the corresponding sections of this ne""1Sletter.

7 From South Africa: Mrs. Elvera Thomas, President or the south African Institute of Music Therapy (S.A.LM.T.) informs us that Mrs. Jeanne Bull is the current secretary of S.A.I .M.T ., and Dr. Louis Hotzhausen is the Editor for the South African Journal of Music Therapy. Transvaal and East.ern cape Branches, according to Mrs. Thomas, have held various lectures and workshops, including one by Sybil Beresford Pierse from England. Mrs. Thomas reports on the continuing struggle for recognition of music therapy as a ·full paramedical therapy" from the South African Medical and Dent.al Council. Recognition .as a ·single medium therapy" as part of Occupational Therapy she describes as ·insufficient· and asks for international vie\AIS on this. She reports also that aims for 1986 are to publicize music and music therapy as careers for young people. She also has written responses to our questionnaire (see corresponding section).

From Spein: Dr. Serafina Poch Blasco, President of the Associacao catatana de Uusicoterapie, sent ne\AIS of the V Mediterranean Congress of Social Psychiatry - V Congess of the Spanish Association of Psychiatry and Social Psythopathology held in Barcelona, ~- 5-7, 1985, including three hundred psychiatrists from Mediterranean countries. At this conference, a Symposium on Music Therapy in Social Psychiatry was held. Folto\\ling this Congress, Music Therapy classes wilt be added to the ·curso de Psyquiatria y Psicologia Social· at Barcelona University for post-graduate professionals of health (psychiatrists, psychologists, and psychiatric nurses). Dr. Blasco also sent an update stating that she is no longer at the Institute of Health and Education, as announced in the 1985 International Ne'h'Sletter. Instead, she witt be giving music therapy courses for post-graduates in Education, Special Education, and Psychology at the ·cotegio de Doctores y Licenciados en Fitosofia y Letras de Catatunya y Baleares· in Barcelona. She informs us that Mr. Daniel Teran is now President of the Assoclacion Espanola de "'usicoterapia. His address is Apartado de Correos 6. 11 3. - 2 80006, Madrid.

From Sweden: A description of the past conference (May, 1985) was sent from Kay-Ake Nilsson, President of the Association of Swedish Music School Leaders. He informs us that this conference aligned itself with the goal of the Int.ernational Youth Year: •to create increased attention to the situation of children and young people .. and also included the European Music Year.

From Switzerland: Ms. Catherine Lutz informs us that there will be a training program for German-speaking Swiss starting in October, 1986, which "Will last two years as a post-graduate program for people who work in the social profession. She tells us that their association is gro"Wing rapidly and they are working toward recognition by the $ick-fund and the invalid-fund_ 8 To that end, Mrs. Monika Muller, \.\1ho is sponsored by different associations and social funds, is working on a documentary essay about the condition of music therapy in Switzerland. She mentions also that every year two or three workshops in post-graduate music therapy training are sponsored.

F..rom Syria: Although Syria does not have a Music Therapy association, Mr. Solhi Al Wedi can be contacted at the Conservat.ory of Music ATA Al AUB 1 Street, Damascus, Syria.

From the United States: Ms. Cynthia Briggs, Vice President for Professional Standards of the American Association For Music Therapy {AAMT) informs us of the next national conference t.o be held April 9-11, 1987, at the Hershey Pocono Resort, White Haven, Pennsylvania. Peter Jampel is current President for the AAMT. From Cheryl DiLeo Maranto, President Elect of the Rational Association for Music Therapy {NAMT) we are informed of their new President, Anthony De Cuir. She tells us of their next conference, "Unified Diversity: A Challenge to Creativityu to be held November 21-24, 1986, at the Hyatt Regency Downtown in Chicago, Illinois. Mr. A.G. Black, Jr., Chair of the Certification Board for Music Therapists (CBMT), sends an update regarding this new advanced certification. As mentioned in the ·certification Requirements in Music Therapy· section of the 1985 International Newsletter, admission to the certification examination is successful completion of all academic and clinical requirements for Music Therapy or their equivalent as established by the National Association for Music Therapy or the American Association for Music Therapy. Candidates educated and trained outside the United States will be revieWed on a case-by-case basis to determine eligibility to sit for the examination. The first examination was held November 16, 1985. The next examination is scheduled for October 25, 1986. The status of Music Therapist - Board Certified is given to those passing the examination. The examination was the last step in the CBMT's plan to become a Class A member of the National Commission for Health Certifying Agencies (NCHCA). This commission monitors its member agencies to assist the public by identifying standards for the safe professional practice of the individual therapy. A three-year developmental plan is being completed which will include a re-certification program to insure public continuing competency in the field of music therapy. The CBMT has been active in conveying to governmental agencies and other human service professions that music therapy is a legitimate profession and discipline, and can provide objective evidence of its expertise and training. The Rational Coalition of Arts Therapy Associations (RCATA) held its first joint conference in New York on November 23-27, 1985. The conference brought together for the first time more than 2,000 practitioners 9 from all of the creative arts therapies disciplines (music, dance /movement, drama, and art). There were more than 300 presentations and workshops offered, including special one-day intensives on specific topic areas. This unique gathering served to highlight the individuality of each of the creativ"e arts therapies, While at the same time strengthening ties and understanding so necessary for the advancement of all creative arts therapies. The next joint conference of NCATA is being planned for 1990. Pet.er Jampel, President of the AAMT, and carolyn Kenny, RMT, have "'1fitten replies to our questionnaire (see corresponding sections).

From Uruguay:: Professor Lyda Florez, President, reports a new address for the Asociacion Uruguaya de Musicoterapia: Avenida 18 de Julio 2042 bis, Ap 1101, Montivideo, Uruguay. In addition, she mentions the DCentro Para Las Artes· Where the course of !echnician in Music Therapy· takes place. This is at the following address: Solano Antuna 2923, Montivideo, Uruguay. Director Cristina Segundo de Lagomarsino of the Centro para las Art.es, along with Lyda Florez. celebrat.ed the graduation of their first five students from the Centro de las art.es as of May, 1985. This is a pioneering effort in the field of Music Therapy in Uruguay.

From West GermanY.:: Professor Johannes Eschen informs us of a new three-year post-graduate Tuploma-Music Therapy Study· at the Hoehschule fur llusit. und darstellende ~unst Hamburg. Details of the program are included in the ·More on Education and Training· section of this Newsletter. Professor Merete Birk~baek informs us that on May 17, 1985, official recognition was given to the 2-year post-graduate Music Therapy Course at the University of Witten/Herdecke. Details of this course are included in this Newisletter, in addition to a reply to our questionnaire (see corresponding sections). Professor Birkebaek also mentions that the University took part in the 2nd International Symposium for Music Therapy training in Heidelberg. A program was sent announcing the International Congress for Music Therapy which was held on May 23-27, 1985, in Heidelberg. Professor Johanna V. SChultz has provided information on the training course at the Institute for Music Therapy of Berlin as well as writing in response to our questionnaire (see corresponding sections). We have boon informed of a new organization at the follo\\ling address: International Association for Arts Therapy, Professor D med W. Jacob, Im Neuenheimer Feld 368, D- 6900 Heidelberg, West Germany ~

From Yugoslavia: Dr. Darko Breitenfeld, President. of the Association for Music Therapy of Sr. Croatia has sent an announcement of an International Symposium on Music Therapy ""1tdch will be held during the Ninth International Congress of the International Association of Group Psychotherapy, August 24-29, 1986. 10 1986 CONFERENCE CALENDAR April 25-26 Wellington, Bew Zealand-Annual Conference of the New Zealand Society for Music Therapy, Inc. Contact: Mrs. Barbara Lewis, 31 Discovery Drive, Whitby, Wellington, New Zealand.

July 6-12 Innsbrnct., Austria-International Society for Music Education International Conference Address: XVII ISME Welt.kongress, 1986, Kongressburo Posttach 533, A - 6020, Innsbruck, Austria

August 24-29 Zagreb, Yugoslavia-International Symposium on Music Therapy - Organized by the Association for Music Therapy of Sr. Croatia, Yugoslavia (The symposium will be held during the Ninth International Congress of the International Association of Group Psychotherapy) Contact: D. Breitenfeld, President, YU41000, Zagreb, Vinogradska 2 9.

November 21-24 Chicago, Illinois, USA-National Conference of the National Association for Music Therapy - "Unified Diversity: A Challenge to Creativity· Contact: Ed Norwood, Executive Director, 1133 Fifteenth St. NW, Washington, oc 20005, USA

1987 CONFERENCES & BEYOND April 9-11, Hershey, Pennsylvania, USA-National Conference of 1987 the American Association for Music Therapy Contact: Ruth Kuchinsky, AAMT, 66 Morris Avenue, P.O. Box 359, Springfield, New Jersey, 07081, USA

August 11-15, Buenos Aires, Argentina-Third World Congress on the 1987 Isolated Child, and First International Symposium of Institutions for the Mentally Disabled of A.S.A.N.A. (Association for Help for the Isolated Child) Contact: ASANA, Ayacucho 1741, 1st Piso, Of. 6., Buenos Aires ( 1112) Argentina

July, 1989 Sao Paulo, Brazil-Sixth World Congress of Music Therapy Contact: Clementina Nastari, ASP AM, Rua Major Maragiano, 457 Villa Mariana, 04017, Sao Paulo, Brazil

1 1 MORE ON EDUCATION AND TRAINING IN MUSIC THERAPY

Brazil: As of May 22, 1985, a decree authorized the Music Therapist Education Course at the "Marcelo Tupinamba" Music College in Sao Paulo. It is a four-year course with a t.otal of 3,456 class/hours divided into three areas: scientific, musical, and sensibility. Sul2jects in the Scientific Area: Philosophy, Anatomo-Physiology, Neurology, Music Therapy, Introduction to Sociology, Anthropology, Perception Theory, Perception Psychology, Evolutive Psychology, Psychology of Personality, Social Psychology, Psychology of the Exceptional, General and Special Psychopathology, Psychodynamics, Phoniatrics, Rehabilitation Medicine, Child Psychiatry, and Professional Ethics. ~jects in the Musical Area: Musical Initiation, Orff Method, Dalcroze Method, Hist.ory of Music, Folklore, Hearing Perception, Practical Harmony, Recorder, Guitar, Percussion, Psychoacoustics, and parallel Study of a Major Instrument. Subjects in the Sensibility Area: Creative Activities to Support Music Therapy, Body Expression, Group Dynamics, Research Seminars. Training Periods in the Following Areas: Mental Handicap, Physical, Social, and Psychiatric Handicap. Conditions for student admissi()n are: a) completion of secondary education with or without musical knowledge (candidates without musical knowledge must, during the first year of college, take an intensive course on Musical Initiation and study one instrument at the "Marcelo Tupinamba.. Music College); b) Interview. It is noted that the knowledge of music is not considered mandatory because ·we think that the Music Therapist need not be a virtuoso. This profession must have a talent to use creativity and improvisation resorting to musical instruments, the body, singing, surrounding objects, and communication in the therapeutic relationship. All this can be acquired and developed during the course ... Based on information from Ms. aementina Nastari, Associacao Paulista de Musicoterapia (ASPAM)

Canada: As of 1985, Wilfrid Laurier University in Waterloo, Ontario, offers an Honours Bachelor of Music Therapy program. It is a four-year program comprised of 23 courses of which half are in music and almost a third in psychology and sociology. During the four years, courses include:

Introduction to Psychology Ensemble Theory I: Concepts and Procedures Musical Skills Theory I I: Diatonic Harmony Practical Study, Electives

12 Developmental Psychology I & I I ("'1ith field placement) Theory III: aassical Style, Composition and Analysis Theory IV: 19th Century Harmony Ensemble Musical Skills I I Practical Study Introduction to Music Therapy

Introduction to Qinical Psychology (with field placement) Improvisation I Psychology of Music Musical Skills I I I Influence of Music on Beha\Tior Practical Study Music Therapy Techniques I Electives

Introduction to Research Methodology Physiological Psychology Music Therapy Techniques I I Music Therapy Practicum Music History Electives

Information provided by Dr. Anne C. Hall, Acting Dean of Music Wilf ridLaurier University

France: The Atelier de Musicotherapie de Bourdeaux otters a course of study in Music Therapy (400 hours in 10 sessions) which results in a certificate. On France there is no diploma in this area.) The course contains the following subjects: Introduction to Music Therapy Definitions. History Philosophy and Finality Definitions of places and times Art, Music, Dance, Movement, Theater, Poetry Basis and form . The normal and pathological Communication Fundamentals of music Practical/theoretical study of sound and rhythm History and evolution Musical form Musical instruments Physics of sound Voice, singing, the physiology of the voice Iso principle ("sound identity") Applications of music therapy in settings including psychiatric, deaf children, withdrawn children, or those with difficulties in communication Music therapy and music in special education Music therapy and language Music therapy and relaxation with adults and adolescents Music therapy with the aged The limits of music therapy Diverse trends and schools Music therapy as part of a multidisciplinary approach

13 Conditions for student admission are: a previous degree which may be in medicine, paramedicine, auxiliary medicine, or education. Based on a translation from the French of information received from Dr. Gerard Ducourneau

Norway;, A two-year training program in Music Therapy is available at Ostlandets Musikkonservatorium, Vetlandsveien 45, 0685 Oslo 6, Norway. Information provided by Mr. Tonhild Strand Hauge of the Norsk Forening for Musikkterapi

West Germany: The Institute for Music Therapy of Berlin is the oldest in Germany (founded in 1962). The Institute has had post-graduate studies since 1967, with April, 1986, beginning the 14th course. There has been a Music . Therapy Course since 1970, with October, 1986, beginning the 10th course. The course runs for eight semesters and ends in a diploma. There are 18 instructors in various fields. Trainees come from inside and outside Germany. Patients worked with are of all ages with a variety of handicapping conditions. One of the unique aspects of their work is in helping cases thought otherwise unreachable. The Institute is part of the Academy for Musickheilkunde, an international group founded for the purpose of research and dissemination of information to the public. Based on a translation of information provided by Johanna V. Schulz Director of the Institute for Music Therapy, and President of the Academy for Musickheilkunde

As of May 17, 1985, official recognition was given for a 2-year post-graduate Music Therapy Course at the Universitat Witten/Herdecke. Students wanting to study Music Therapy must first have completed full-time music training and, if possible, have taken part in the introductory seminar, "Music Therapy· at the Music Academy, Aachen. Two main aims of the course are that the student learn to use "the Art of Music in Therapy,· and ga.in a good understanding of basic scientific theory, with particular emphasis on its application to research. Students gain practical experience in Music Therapy at the University Clinic, Herdecke Hospital, and at Orthopaedic Hospital, Volmarstein. They also have the opportunity to work T./>lithin Special Education. All practical work is carried out under supervision, and covers the areas of mental and physical handicap, psychiatric and physical illness. Music Therapy students have the opportunity to attend courses offered in other subjects of the University.

14 Course requirements include: --Practical aspects of music therapy --Tape analysis --Introduction in practical clinical music therapy --Evaluation --individual practical work --Medical courses --Clinical improvisation --Foundation course --Repertoire and methods --Case-studies --Approaches and theories in music therapy --Practical and theoretical aspects of musical experience --Qinical techniques and methods Information provided by Professor Merete Birkebaek, Institute for Music Therapy, Universitat Witten/Herdecke

As of 1985, the Hochschule fur Musik und darstellende Kunst Hamburg offers a post-graduate three-year part-time program leading to the academic grade "Diplom-Musiktherapeut/in." The program is intended for students who have a strong musical background, personal suitability for music therapy practice, research and teaching, already having finished their studies at university level (e.g. Medicine, Psychology, Music, Special Education, etc.). The music therapy component of the program is divided into four areas: 1. Music therapS- "Selbsterf ahrung: C-Lehrmusiktherapie ") 11. Individual Music Therapy (minimum 4 semesters, 1 hour weekly) 1.2. Intermusictherapy (minimum 2 semesters, 2 hours weekly) 1.3. Group music therapy (minimum 6 semesters, 1 hour weekly) 2. Music Therapy Practice: Methods for Different Populations; Observation Techniques; Functions of Music Therapy in Different Institutional Settings; Consciousness of Own Body and its use in Music Therapy; Practicals throughout 3 years; and Individual and Group Supervision. 3- Thera~utic Music Skills: Self-expression through Vocal, Instrumental, and Movement Improvisation; Methods of Listening; Oinical Improvisation to the Client's Tone Language; Arranging; Composing; Conducting; and Group Leadership. 4. Music TheraJ?y Theory and Affiliated Sciences Medical Subjects: Anatomy, Audiology, Exceptionality, Physiology, Psychiatry, Psychoanalysis, etc. Psychological Subjects: Development, Perception, Communication, Social Psychology, Special Education, etc. Therapy Subjects: Various theories of Music Therapy and Psychotherapy, Creative Arts Therapies and other forms of Therapy, History of Music Therapy. Scientific Theory: Metatbeory, Science of Science/Philosophy Law: Applied Law for Therapists Final examinations, thesis and oral defense are also required. Information received from Professor Johannes Th. Eschen, L.A.S.M. (Music Therapy) 15 IN YOUR OPINION~ WHAT ARE THE THREE MOST IMPORTANT TOPICS FOR THE INTERNATIONAL COMMUNITY TO ADDRESS AT THIS TIME?

The following are responses t.o the 1985 questionnaire:

Austrslia: 1. Establish a working party whose ultimate objective is the cross-crediting of qualifications. This would necessitate establishing uniformity of standards in training programs witb particular emphasis on the balance between musical and therapeutic skills. A World Federation or working party whose representatives are drawn from influential member organisations--N.A.M.T., A.AM.T., B.S.M.T., A.M.T.A., etc., may be necessary. Countries that are endeavoring t.o establish standards would greatly benefit from resulting guidelines. 2. Establish criteria for clinical training and practical experience at an international level. At present there is a '\t\1ide discrepancy between 6 months of clinical internship and the 36 days required by Guildhall. Duration of practical training, depth of study during practical training, written requirements, etc., need t.o be standardised. 3. Establish an international conference committee. This year there were conferences, congresses, symposia, etc., in Rio de Janeiro, Genoa, New York, and Germany, all claiming ·international· status. Given present resources, many countries could not send representatives t.o each conference. There are 2 inherent problems in this: a) Individual countries can obviously not benefit from interchange of ideas if they are not represented; b) At each conference, issues are discussed and, perhaps, far-reaching decisions are made. But how can these be valid if no full representation in an international sense exists? The frequency of such ·international conferences· also needs to be considered. Gary Fisher, National President Australian Music Therapy Assn.

Austria: 1. ImP-arting music and/or musical materials in music therapy; 2. What is specifically thera~utic music in music therapy; 3. What are the essential differences and common ground between music pedagogy and music therapy? Professor Alfred Schmolz Hochschule Fur Musik und Darstellende Kunst in Wein

Brazil: We think that the Organization of a World Federation of Asociations for Music Therapy is very important. Such a union is essential for the

16 development of our profession. Gabrielle de Souza e Silva President of t.he Associacao Brazileira de Musicoterapia do Rio de Janeiro Great Britain: 1. An objective study of the differences between definitions of music therapy in different countries. Are there any points that all these definitions have in common? If so, What are they? 2. Music therapy training courses all over the world vary tremendously. What, if anything, do they all have in common? 3. An up-to-date review of all current music therapy research projects. Amelia Oldfield, Intl. Secretary Association of Professional Music Therapists New Zealand: 1. To encourage full recognition of music therapy as a highly skilled professional discipline and career Which serves a wide range of client areas. 2. To ensure that training, practice, and research in music therapy throughout the world have high standards and a core of practice which respect the social and cultural background of every person. 3. To continue to encourage a network of publications, conferences, and work exchanges of music therapists to provide professional support and nurturance to a new profession. Barbara Lewis, Admin., New Zealand Soc. for Music Therapy South Africa: 1. Music therapy and drug or alcohol abuse; 2. Music therapy and depression (various types of depression); 3. Music therapy in the community, not necessarily in institutions, and partly preventitive medicine. Elvera Thomas, Pres., South African Inst.it. of Music Therapy

Switzerland: It would be interesting to know the schools, associations, and also the countries Who have Music Therapy accepted by the "assurances sociales." Janine Matthys, Director Ecole Sociale de Musique United States of America: 1. Identifying the present existence in each country of other creative arts therapists: art, dance, drama, as well as music therapists, and assessing the possibility of developing networks between these organizations for the purpose of identifying important issues and common ground. This should be done for purposes of job security, job development, funding, licensure, and 17 general acceptance in the professional health field, as well as for the sharing of ideas. It is important at the same time to maintain our separate identities as music therapists. The National Coalition of Creative Arts Therapists (NCATA) serves as a working example of such a model. 2. Investigating the potential for developing a forum of international communication amongst the creative arts therapies. J Working to"W'afd developing a sense of priorities to enhance career opportunities of creative arts therapists. It will be import.ant to look at the standards of education and training in each country and see what can be learned from each other and what would be useful to do on a national level and on the international level to enhance the field of music therapy. Peter Jampel, President American Association for Music Therapy West Germany.; 1. Music Therapy is not only a psychological therapy (psychotherapy) but also a physical therapy for physically handicapped persons, as well as a therapy capable of reaching people with other problems. Therefore, in our opinion we must have a main discipline with different sub-disciplines like in medicine which has under the discipline "Medicine", the sub-disciplines of "Psychiatry," "Pediatrics,· "Geriatrics,· "Neurology, .. et.c. 2. The training courses for music therapy in Germany are private and not acknowledged by the st.ate. It is necessary to have a better community for training courses on an international basis. 3. We think it is necessary t.o found an international society which '\I/ill be able t.o compile information from different countries and give this information t.o all the societies in all countries where music therapy is practiced. This will lead to a better understanding within the field. Johanna V. Schult.z, Institute for Music Therapy, Berlin

1. The recognition of a post-graduat.e diploma course for music therapy at the University Witten/Herdecke. One of our aims is supporting this course. 2. The expansion of this music therapy approach in practical work. Nor doff /Robbins music therapists are now working in various fields (handicapped children, child psychiatry, psychiatric hospitals for adolescent as well as adults, a special hospital for drug abuse, et.cJ J OUr P/R work: We have, in 1984, edited information sheets with various subjects (development of the work, the art of music in therapy, description of a music therapy department in a hospital for male psychiatric patients, Integrative work in groups of handicapped and non-handicapped children). Lut.z Neugedaner Verein zur Forderung der Nordoff /Robbins Musik Therapie

18 REPORT FROM THE WORLD FEDERATION OF MUSIC THERAPY STUDY COMMITTEE by Barbara Hesser

The Fifth World Congress of Music Therapy took place December 9-14, 1985, in Genoa, Italy. The World Federation of Music Therapy Study Committee, consisting of the nine members selected in July, 1983, in Paris at the Fourth World Congress of Music Therapy, met during the congress. The study committee included: Dr. Rolando Benenzon (Argentina); Mr. Jacques Jost (France); Mrs. Ruth Bright (Australia); Ms. Barbara Hesser (U.SA.); Dr. Heinrich Moll (Germany); Dr. Rafael Rivera Colon (Puerto Rico); Mrs. Giovana Mutti (Italy); Mrs. Amelia Oldfield (England); and Mrs. aementina Nastari (Brazil). By the end of the congress the committoo had agreed on ~e timeliness of a World Music Therapy Federation and established a provisional document outlining the aims and structure for this federation. In the next years this document will be studied by each music therapy association and Volill be ratified or changed at a general meeting of official representatives from each association to take place at the Sixtll World Congress of Music Therapy to be held in July, 1989, in Sao Paulo, Brazil. Because the congress program in Genoa did not permit a general meeting of representatives from all countries, it was decided by those representatives present that they should start work until elections are held at the Sixth World Congress of Music Therapy. It was decided that Rolando Benenzon would act as chairperson, Jacques Jost as deputy chairperson and treasurer, Giovana Mutti as secretary, Barbara Hesser as publicity officer, Otto Moll as research coordinator, Ruth Bright as training coordinator and music therapy world conference coordinator, Amelia Oldfield as professional bodies coordinator, and Rivera Colon as world organizations coordinator. aementina Nastari is also a committee member, but she is not fulfilling a specific post as she will be preparing the Sixth World Congress of Music Therapy in Sao Paulo, Brazil in 1989. The aims of such a Federation as suggested by the Committee would be the follo-wing: - To exchange and gather information on various aspects of music therapy in different countries; - Through this exchange of information, to encourage an open-minded approach and an interest in different styles of music therapy; - To study the communality in different countries of the theory and practice of music therapy; - It is envisaged that this may lead ultimately to common definitions of music therapy which would be generally acceptable. In the coming year, a more detailed description of the aims and structure of the proposed federation will be available for each association.

19 Listed below are the names and address of the World Federation of Music Therapy Study Committee Members:

Dr. Rolando Omar Benenzon (Chairperson) J.F. Segui 3816 Piso I 1425 Buenos Aires, Argentina

Mr. Jacques Jost (Deputy Chairperson & Treasurer) Centre International de Musicotherapie 7 3 rue Curial, 75019 Paris, France

Mrs. Ruth Bright (Training Coordinator & Music Therapy World Conferences Coordinator) 9 Ascot Avenue Wahroonga, NSW, Australia 2076

Ms. Barbara Hesser (Publicity Coordinator) New York University, Dept. of Music & Music Education 35 West 4th Street New York, NY 10003, USA

Dr. Heinrich Moll (Research Coordinator) Conrad-Weil Gasse I D 6000 Frankfurt 60, West Germanx.

Dr. Rafael Rivera Colon (World Organizations Coordinator) Presidente Associacion Puertorigerenon de Musicoterapia P.O. Box 1448, Hato Rey, Puerto Rico 00919

Mrs. Giovana Mutti (Secretary) Asociaziona It.aliana Studi Di Musico Terapia Via Peschiera 9/A 16122 Genova,~

Mrs. Amelia Oldfield (Professional Bodies Coordinator) Music Therapy Department Ida Dar"Win Hospital Fulbourn, carobs. CBl 5EE, England

Mrs. Clementina Nastari (She is preparing the Vlth World Congress of ASPAM Music Therapy, to be held in July, Rua Major Maragiano 1989, in Sao Paulo, Brazil.) 45 7 Villa Mariana 04017 Sao Paulo, Brazil

20 LOOKING AT THE MUSIC OF MUSIC THERAPY

In our mailing this year, I chose to include a question about tbe music tbat is used in our various approaches to music tberapy. I asked tllat a music tberapist be chosen who was felt to be qualified to Mite a brief reply. It is fascinating to read not only tbe answers to tbe questions but also tbe styles in which tbey are written. These reflect botb tbe individual style of tbe autbor as well as beginning to highlight differences of approach in our various cultures. The following are responses to tbe question:

How does the music and/or musical traditions in your country in.ftuence the way you use music therapy?

Australia: Music has always been a low priority in Australian schools; perhaps a reflection of a more general cultural view tbat it is a pastime, an entertainment, ratber than a professional field. Therefore, a major obstacle for us is arguing, ·why musicr --What is unique about music that sets it apart from other therapies? What makes it an essential service rather than an optional one? The low esteem with \\1hich music is generally held as an area or career choice may also be responsible for limiting tbe type of candidate who undertakes a music therapy career option. Few Australian secondary students achieve musical competence and fewer still to a degree high enough to consider acceptance into a music.therapy training course. Australia, a relatively young western country, bas no strong tradition of music. Rather, it is a melting pot of various cultural influences. A music therapist must, therefore, be aware of a '\Alider scope of musical heritages in order to be effective in many settings. He/She must be aware of the influence of aboriginal music, the English music traditions brought by the early settlers, the German, the Italian, etc. A major influence on music therapy in Australia, however, is the

philosophy adopted by the various services, e.g. the ·educationft model in

special schools, the 9behavioural ft in others, and the ~umanist9 in still others--mostly privately-run services. The same applies to the field of psychiatry, where some units of psychiatric hospitals adopt a different philosophy. As a member of the treatment team in each of these units, the music therapist must adapt to Whichever approach is applicable. Fortunately, music is a flexible medium and can bend to suit the differing approaches. The music therapist need be flexible too, but this may sometimes create ideological problems for the individual therapist. Gary Fisher, National President Australian Music Therapy Assoc.

21 Austria: In Vienna, music therapy is practiced primarily in three areas: in psychiatry, work with handicapped children, and in psychosomatic medicine. Traditional music of Austria plays a docisive role in psychiatric work. Baroque and classical music is used Which has a clearly perceiveable structure, so that the patients can follow it. Long-vvinded, excessively romantic music (e.g. Mahler, R. Strauss) would be too confusing. Program music can be useiul when it is clear and readily perceiveable, because it contains imaginative content and provides an opportunity for patients to. imagine visual corollaries to the music. ln the gerontological branch, songs pertaining to Vienna ("Wieneflieder") and Operettas

BraZil: From our point of view, music may be considered as a therapeutic tool, for it is a real language and, besides the psychological effects that sounds undeniably provoke, we find this language is important for it is a way of expression and communication of subjective matters. The characteristics of musical language are that they have no referential implications, which means that musical significance does not imply~ or one signification, but allo\'o!S for significant emotional attributes Which are bonded to the personal experiences of each individual and/or community. Language and culture are intrinsically linked to each other--language is not only a product of culture but determines it. In Brazil, popular music is one of the significant cultural expressions of its people. OUr Indian, European, and African roots favored the appearance of several kinds of musical styles and in the manifestations of folk music it is possible to discern one of the most important characteristics of our culture: miscegenation. our country is mulatto and ours is a Mbatuque M(beat) culture, and this outstanding African influence is clear in the exuberance and variety of rhythms that appear in the music of the country's different regions. Although European influence may be 22 noticed throughout melodic and harmonic structures, it is quite evident that RHYTHM is, undoubtedly, the outstanding musical element in our popular music, a fact that is thoroughly clear at carnaval time. In our clinical approach, we tr;T to bring together these cultural ties, pre-existent to the patient's sonorous-musical ones. Basically V•le mal~e use of musical instruments connected 'With popular tradition to promote the subject's identification \.\:ith his roots and, consequently, vv'ith himself. Therefore, our goal is to off er to the subject vvbo is searching music therapy specific means of expression--the musical language--that is part of his culture, in order to initiate the a\lv'akening and the development of fruitful therapeutic process. Martha Negreiros de Sampaio Fianna, and Maria Clarice Schiller Inst. of Psychiatry of the Federal University of Rio de Janeiro

(;real Britain: British music (botl1 folk and art) has quite a strong influence on my approach to Music Therapy, perhaps most notably in the strong tradition of vocal music in this country. This seems to make it more natural for me to work with both words and music in my sessions, rather than purely instrumental music. Anot.her influence is the huge fund of folk music from all over the British Isles. This music is largely modal, which means that 'With a limited number of notes (say, for example, a pentatonic scale, the "black" notes of the piano .. chime bars, xylophones, etc.), musical results car1 be achieved which are satisfying, both to the therapist and, because of this deep-seated tradition, to the client, no matter how handicapped. Allied to folk music is the tradition of nursery rhyme, With its jaunty rhythms and repetition of stock phrases Which car1 be adapted into "question and answer" type songs, used both to entertain and to elicit responses from Withdrawn clients. The influence of British art music is harder to define. Polytonality .. atonality, and greater rhytlunic freedom and complexity have all permeated the therapist's approach to improvisation and self-expression. Perhaps easier to recognise is the influence of tlle all-pervasive pop music, which can be used either actively or passively to assist communication, dance, drama, music and movement, or for entertainment. I hope these necessarily brief notes give some indication of tl1e ways in which the therapist uses, consciously or unconsciously, tl1e musical environment. Brid McKee. Music Therapist B.Mus. L.G .S.M.(M .T.) Ida Darwin Hospital, Fulbourn and Anglican Autistic Community Trust, Suffolk New Zealand: New Zealand, colonised mainly in the nineteenth century, bas a prevalent European tradition which is primarily British. The indigenous Polynesian people, the Maori, have central loyalties to the land and to the extended family or tribal group. In the last two decades, many Pacific Island people have come to live permanently in New Zealand. The relationship between Maori, Pacific Islander, and -pakeha· (European) is harmonious generally, but deep understanding of each other·s separat.e, strong culture is needed to ensure continuance of cross-cultural ties. In music, all races have traditional strengths. The European heritage of classical music finds traditional outlets in choirs, orchestras and solo performance. Popular music and jazz follow the American and British lead. New Zealand bas developed an int.ernational standard in brass band pertormance, and we have good composers whose style is now distinctive to this country. Maori music has its roots in genoology and ritual, and so voice chants and movement are important traditionally. Modern Maori music incorporates West.ern melody and harmony into the Maori language and action-song base. A music therapist in New Zealand therefore has to be eclectic in choice of music idiom, musical instruments, and therapeutic style. Awareness of differences in cultural behavior and relationship patt.erns is essential, e.g. within each culture there are specific musical forms associat.ed With rituals such as weddings, burials, etc. Thus a 'Wide, flexible repertoire is needed, not just of music--but also a cross-cultural understanding of other art forms such as dance and art is desirable. Barbara Lewis, Administrator New Zealand Society for Music Therapy, Inc.

South Africa: This is an extremely difficult question to answer in South Africa, in which the "white.. population is at least bilingual--English and Afrikaans being the two official languages. The Afrikaans culture tends to isolate itself and has very little traditional music. The English-speaking people are of many different nationalities, and even the four main British groups-- English, Irish, Scottish, and Welsh--have different musical cultures. There is now quite a large Portuguese minority group, and Indians. Then there is a large population of black people of many different tribes, some in a fairly primitive state, but others urbanised and having a strong musical tradition, very expressive in song, dance, and rhythm. Therapy in the black population has al'\l>lays ~n associated with music. Music has al'\Alays been associated -with religion. The ·wrute· people are slow in accepting the concept of music as a therapy. Music teachers are very peformance-oriented. Elvera Thomas, President South African Institute of Music Therapy

Switzerland: Especially in the field of Psychiatry, music therapists use the 24 folkmusic of Switzerland, but also the folksong (Geriatric, chronically ill patients). Swiss folk music has quite an activating stimulus and so can also reach apathetic patients. Folksongs reach many memories and hidden emotions. Catherine Sandra Lutz National Association of Music Therapy in Svvitzerland

United States of America: America is a country with such a wide range of musical traditions tl1at tl1e Music Ttierapist may encounter a tremendous variety of form and style. This can be botl1 exciting and challenging. If we assume that music carries a deep imprint of tl1e culture itself, this makes the challenge highly complex. The music of a culture is not only the courier of tl1e cultural soul and spirit, but carries idiosynn-atic meaning which is culture-specific:. The Music Therapist working Witl1 a multi-cultural population has a responsibility to respect tl1e spirit of each cultural tradition and learn about the specific meanings and associations of each "music" before offering Music Therapy experiences which hopefully Vv'ill also carry meaning for llie participants. Personally, I find llie Native American musical tradition especially compelli.ng. This music expresses the rhythms and textures oi the Earth herself and the poople who have spent a great deal of time learning how to live on this particular piece of Eartl1. Whenever appropriate.. I try to share the simplic.ity, clarity, and power of ttiis particular form of "American" music v.,rith clients, friends, arid colleagues. It has certainly influenced my approach to Music Therapy. It feels like the kind of music which brings us home in tlle deepest sense of 1!1e word. It draws us to tlle Center --of the Eartl1, our hearts, our souls, our deepest knowings and understandings, particularly in reference to being wtiole--in body, mind, and spirit. Carolyn Kenny Santa Barbara Creative Arts Health Center, catifornia, USA

West Germany: As our course is a post-graduate diploma course in music therapy, students all have a musical training. Coming from musical colleges they bring witll them a cultural background. The emphasis in German college training is on reproduction of classical music. Improvisational skills are seldom developed sufficiently. The major aim of our course is therefore v..ridening the field of musical experience (e .g. various eU1nic music forms, etc.), developing skills in improvisation, and particularly the clinical application. Merete Birkel)aek University of Witten/Herdecke Institute for Music Therapy

25 RECENT PUBLICATIONS France Seminaire et travaux du Prof. Benenzon. Bourdeaux, 1981 . L&S actes du deuxieme congres mondJ~l ti~ l'enfant isole (5-8 Juillet, 1984). ~aiement. inhibition, musicotheraP-ie de Roland Vallee. Available from: Atelier de Musicotherapie de Bordeaux, 45 rue du General de Gaulle, Parempuyre 33290 BlanquMort, France Netherlands Blokhuis, A. MuziektheraRie met geestelijLgehandicaRten (Music therapy with mental retardates). Amsterdam, uitg. Wolfkamp, 1952 . (Master's thesis)

Bruyn, M. de Muziek if) rlP kinderrevalidatie (Music with physically disabled children). Nijkerk, Intro, 1984.

Lievegoed, B. Maat, ritme en melodie (Meter, rhythm and melody). Ziest, uitg. Vrij Geestesleven, 1963 (reprint from 1939).

Schalkwijk, F.W. Grondslagen van muziekthera:P-ie. Haar samenhang met 12sychologische theorieen ov~1 muziek, cretiviteit en 12sxchothera12ie (Foundations of music thP.r.1py: The connections with psychological theories on music, creativity, and psychotherapy). Hijmegen, uitg. Dekker & v.d., Vegt, 1954.

The Netherlands Vereniging voor Kreatieve Therapie (NVKT) has a "Documentatie systeem muziektherapie," in op ,~ · ration since 1/1/35, which compiles summaries of articles, books, audiovisual materials, etc., from all over the world.

Norway MMusikkterapi, Ma quarterly journal of the Norsk Forening for Musikkterapi. (In publication for 10 years.)

Molin, Mie. Musikk er ut.vikHnK Norsk Musikkforlag, 1983.

Naess, Tom. Den miUskeboks. Norsk Musikkforlag, 1982.

South Africa

W~in berg, P. Sing, my child! Songs collected and transcribed Zulu song~, 1984. Raven Press Pty. Ltd., P.O. Box 31134. Braamfontein 2017. 26 United States Bruscia, K.E. lmP-rovisational Models of Music TheraR~ Springfield, IL: c.c. Thomas. (In press.)

Levick, M. Mommy, Daddy Look Vn1at I ·m Saying: What Children Are Telling You Through Their Art. New York, NY : M. Evans & Co., Inc ., 19&6.

West Germany_ von Schultz, J. Heilencle Kraft in der Musik. Drei-Eichen-Verlag, 19&2 .

Bright, R. MusiktheraP-ie in der Altenhlife. Gustav Fischer Verlag, Stuttgart, New York, 1984.

Decker-Voigt & Handbuch Mu.sikth~raP-ie. Eres Edition; Lilienthal/Bremen Hans-Helmut 1983. (Herausg.)

Finke-Knuwer, H. Musik im Krankenhaus. Gustav Bosse 'lerlag, Regens.burg, Kemmelmyer .. K-J, 1983. Wienhu.es, J.

Haardt, A-M, Musikthern.P-ie, Selbsterfahrung durch Musik. Klemm, H. Heinrichshofen·s Verlag Wilhelmshaven, 1982 .

Priestly, Mary MusiktheraP-eutische Erfahrungen (Uberset2ung von: Y...~usic TheraP-~, in Action, Constable, 1975). Gustav Fischer Verlag, Stuttgart, New York, 19&2 .

Schubert, Gertrud Kange un Farben, Formen der Mu.sikthera.Rie und der Malthera.P-ie. Gustav Fischer Verlag, Stu.ttga.rt, NY, 1982 .

Sch'A1<3.be, Cristoph Aktive Gru.R~nmu.siktheraP-ie fur erv.. 78.chsene Patient.en. Gustav Fischer Verlag, Stuttgart, New York, 19~3 .

Tischler, Bjorn . Musik bei neurosgef ahrdeten Schulern. Gustav Bosse \l~rlag, Regensburg, 19~3.

The ~utsch~ G%ellshaft fur Musiktherapie e.V . has start

27