Therapeutic Songwriting provides a comprehensive examination of contemporary methods and models of songwriting as used for therapeutic purposes. It describes the environmental, sociocultural, individual, and group factors shaping practice, and how songwriting is understood and practiced within different psychological and wellbeing orientations.
Music therapy is growing internationally to be one of the leading evidence-based psychosocial allied health professions to meet needs across the lifespan.The Oxford Handbook of Music Therapy is the most comprehensive text on this topic in its history. It presents exhaustive coverage of the topic from international leaders in the field.
In perceiving all rap and hip-hop music as violent, misogynistic, and sexually charged, are we denying the way in which it is attentive to the lived experiences, both positive and negative, of many therapy clients? This question is explored in great depth in this anthology, the first to examine the use of this musical genre in the therapeutic context. The contributors are all experienced therapists who examine the multiple ways that rap and hip-hop can be used in therapy by listening and discussing, performing, creating, or improvising. The text is divided into three sections that explore the historical and theoretical perspectives of rap and hip-hop in therapy, describe the first-hand experiences of using the music with at-risk youth, and discuss the ways in which contributors have used rap and hip-hop with clients with specific diagnoses, respectively. Within these sections, the contributors provide rationale for the use of rap and hip-hop in therapy and encourage therapists to validate the experiences for those for whom rap music is a significant mode of expression. Editors Susan Hadley and George Yancy go beyond promoting culturally competent therapy to creating a paradigm shift in the field, one that speaks to the problematic ways in which rap and hip-hop have been dismissed as expressive of meaningless violence and of little social value. More than providing tools to incorporate rap into therapy, this text enhances the therapist's cultural and professional repertoire.
"A handbook for compassion... a Must-Read Music Book.” —Rolling Stone Country "Generous and big-hearted, Gauthier has stories to tell and worthwhile advice to share." —Wally Lamb, author of I Know This Much Is True "Gauthier has an uncanny ability to combine songwriting craft with a seeker’s vulnerability and a sage’s wisdom.” —Amy Ray, Indigo Girls From the Grammy nominated folk singer and songwriter, an inspiring exploration of creativity and the redemptive power of song Mary Gauthier was twelve years old when she was given her Aunt Jenny’s old guitar and taught herself to play with a Mel Bay basic guitar workbook. Music offered her a window to a world where others felt the way she did. Songs became lifelines to her, and she longed to write her own, one day. Then, for a decade, while struggling with addiction, Gauthier put her dream away and her call to songwriting faded. It wasn’t until she got sober and went to an open mic with a friend did she realize that she not only still wanted to write songs, she needed to. Today, Gauthier is a decorated musical artist, with numerous awards and recognition for her songwriting, including a Grammy nomination. In Saved by a Song, Mary Gauthier pulls the curtain back on the artistry of songwriting. Part memoir, part philosophy of art, part nuts and bolts of songwriting, her book celebrates the redemptive power of song to inspire and bring seemingly different kinds of people together.
Many music therapists work in adult mental health settings after qualifying. This book is an essential guide to psychiatric music therapy, providing the necessary breadth and depth to inform readers of the psychotherapeutic research base and show how music therapy can effectively and efficiently function within clinical practice
A long-awaited revision of the classic 1977 text that laid the foundations for the development of their pioneering improvisational practice of music therapy. It is a large book of nineteen chapters and over 500 pages with almost 5 hours of clinical work on four CDs that accompany the print book, or with the same audio files embedded in an enhanced e-book. Included are clinical examples of music therapy with twenty-four variously disabled children, 5 comprehensive case studies, detailed illustrations, notational examples and discussions of clinical and musical techniques, 3 evaluation scales, and a complete set of improvisation techniques.
Music is a tremendously powerful channel through which people develop their personal and social identities. Music is used to communicate emotions, thoughts, political statements, social relationships, and physical expressions. But, just as language can mediate the construction and negotiation of developing identities, so music can also be a means of communication through which aspects of people's identities are constructed. Music can have a profound influence on our developing sense of identity, our values, and our beliefs, be it from rock music, classical music, or jazz. Musical identities (MacDonald, Hargreaves and Miell, 2002) was unique in being in being one of the first books to explore this fascinating topic. This new book documents the remarkable expansion and growth in the study of musical identities since the publication of the earlier work. The editors identify three main features of current psychological approaches to musical identities, which concern their definition, development, and the identification of individual differences, as well as four main real-life contexts in which musical identities have been investigated, namely in music and musical institutions; specific geographical communities; education; and in health and well-being. This conceptual framework provides the rationale for the structure of the Handbook. The book is divided into seven main sections. The first, 'Sociological, discursive and narrative approaches', includes several general theoretical accounts of musical identities from this perspective, as well as some more specific investigations. The second and third main sections deal in depth with two of the three psychological topics described above, namely the development of and individual differences in musical identities. The fourth, fifth and sixth main sections pursue three of the real-life contexts identified above, namely 'Musical institutions and practitioners', 'Education', and 'Health and well-being'. The seventh and final main section of the Handbook - 'Case studies' - includes chapters which look at particular musical identities in specific times, places, or contexts. The multidisciplinary range and breadth of the Handbook's contents reflect the rapid changes that are taking place in music, in digital technology, and in their role in society as a whole, such that the study of musical identity is likely to proliferate even further in the future.
This guide practically aids mental health professionals in understanding and improving their therapeutic and academic writing, demonstrating how the written word is an invaluable tool to document, assess, and promote change with those in and outside the therapy room. Exploring the various ways writing occurs in psychotherapy professions, Michael D. Reiter comprehensively covers the range of the written word, from progress notes and assessment documentation, to journaling and therapeutic letters, as well as contacting larger systems such as report writing and grant applications. Chapters are formatted to include the purpose and function of a particular type of writing before providing multiple examples so therapists can apply this in their own practice. This book aims to help all therapists, regardless of academic training or therapeutic modality, to incorporate these ideas into their work. This book is designed for mental health professionals in a variety of settings, including counselors, therapists, social workers, family therapists, and clinical psychologists. This book is useful for graduate students as well as those already in practice.
Machine generated contents note: -- FOREWORD by Kenneth J. Doka -- SECTION 1: Foundational Knowledge to Support Bereaved Students at School -- 1. The Importance of Supporting Bereaved Students at School -- Jacqueline A. Brown and Shane R. Jimerson -- 2. Defining Loss: Preparing to Support Bereaved Students -- Tina Barrett and Lindsey M. Nichols -- 3. Cognitive Developmental Considerations in Supporting Bereaved Students -- Victoria A. Comerchero -- 4. The Importance of Assessment in Supporting Bereaved Students -- Catherine B. Woahn and Benjamin S. Fernandez -- 5. The Importance of Consultation in Supporting Bereaved Students -- Jeffrey C. Roth -- 6. Cross-Cultural Considerations in Supporting Bereaved Students -- Sandra A. López -- 7. Family Considerations in Supporting Bereaved Students -- Melissa J. Hagan and Allie Morford -- 8. The Role of Digital and Social Media in Supporting Bereaved Students -- Carla J. Sofka -- SECTION 2: Interventions to Support Bereaved Students at Schoo -- 9. Using Grief Support Groups to Support Bereaved Students -- Renée Bradford Garcia -- 10. Using Cognitive and Behavioral Methods to Support Bereaved Students -- Rosemary Flanagan -- 11. Using Bibliotherapy to Support Bereaved Students -- Ellie L. Young, Melissa A. Heath, Kathryn Smith, Afton Phillbrick, Karli Miller, Camden Stein, and Haliaka Kama -- 12. Using Music Therapy-Based Songwriting to Support Bereaved Students -- Thomas A. Dalton and Robert E. Krout -- 13. Using Play Therapy to Support Bereaved Students -- Karrie L. Swan and Rebecca Rudd -- 14. Using Creative Art Interventions to Support Bereaved Students -- Grace Zambelli -- 15. Using Writing Interventions to Support Bereaved Students -- Lysa Toye and Andrea Warnick -- 16. Using Acceptance and Commitment Therapy to Support Bereaved Students -- Tyler L. Renshaw, Sarah J. Bolognino, Anthony J. Roberson, Shelley R. Upton and Kelsie N. Hammons