In Group Music Therapy Alison Davies, Eleanor Richards and Nick Barwick bring together developments in theory and clinical practice in music therapy group work, celebrating the richness of what group analytic thinking and music therapy can offer one another. The book explores the dynamic elements of the processes that take place in both group analytic therapy and group music therapy, exploring both the commonalities and the distinctive characteristics of the two modalities.

To music therapists, psychotherapists and other arts therapists Group Music Therapy offers a body of knowledge and enquiry through which to understand the music therapy group process through some of the central proposals of group analysis; to group analysts it offers insight into the possibilities of non-verbal communication through improvised music and, more widely, invites thought in musical terms about the nature of events and exchanges in a therapy group. Links are made with group analytic theory as well as with other associated theoretical traditions, such as attachment theory and theories of early infant development. The book explores the history of group music therapy and the history of group analysis, looking both at core concepts and at more recent developments. Attention is also given to developmental issues, drawing upon theories of infant development and attachment theory and clinical vignettes drawn from music therapy practice with a wide range of patient groups illustrates these ideas. The book concludes with a discussion of the possibilities of co-therapy and other collaborative working and of the value of experiential groups in training.

Group Music Therapy will be a key text for clinicians and students seeking to expand their theoretical thinking and enrich their practice, and offers a grounding in group analytic ideas to professionals in other disciplines considering referrals to group work."

In Group Music Therapy Alison Davies, Eleanor Richards and Nick Barwick bring together developments in theory and clinical practice in music therapy group work, celebrating the richness of what group analytic thinking and music therapy can offer one another. The book explores the dynamic elements of the processes that take place in both group analytic therapy and group music therapy, exploring both the commonalities and the distinctive characteristics of the two modalities.

To music therapists, psychotherapists and other arts therapists Group Music Therapy offers a body of knowledge and enquiry through which to understand the music therapy group process through some of the central proposals of group analysis; to group analysts it offers insight into the possibilities of non-verbal communication through improvised music and, more widely, invites thought in musical terms about the nature of events and exchanges in a therapy group. Links are made with group analytic theory as well as with other associated theoretical traditions, such as attachment theory and theories of early infant development. The book explores the history of group music therapy and the history of group analysis, looking both at core concepts and at more recent developments. Attention is also given to developmental issues, drawing upon theories of infant development and attachment theory and clinical vignettes drawn from music therapy practice with a wide range of patient groups illustrates these ideas. The book concludes with a discussion of the possibilities of co-therapy and other collaborative working and of the value of experiential groups in training.

Group Music Therapy will be a key text for clinicians and students seeking to expand their theoretical thinking and enrich their practice, and offers a grounding in group analytic ideas to professionals in other disciplines considering referrals to group work."

Supervision of Music Therapy discusses the theoretical bases underlying approaches to supervision in music therapy, as well as focusing on the distinctive aspects of music therapy supervision from both clinical and conceptual perspectives. In this book, leading music therapy supervisors and researchers demonstrate how music therapy trainees and practising clinicians can be supported through supervision, allowing them to develop confidence and authenticity in their work. Contributors discuss supervision of clinical work with a variety of patients in a range of settings, from special education to forensic psychiatry, including work in schools, children's services and a dedicated music therapy centre. A chapter on the academic supervision of music therapists undertaking doctoral research is provided, together with an overview of the history and continuing development of the field. Supervision of Music Therapy contributes to current debates about approaches to supervision in music therapy, and offers the reader fresh perspectives on the subject, making this a book of value to practising therapists, supervisors and students alike.

In this insightful book, Oldfield and Carr draw together persuasive arguments for combining aspects of music therapy and dramatherapy, whilst retaining their unique facets. Building on the many links between music and drama and the compatibility between the two disciplines, the authors explore how artistic aspects of each therapy can be drawn on to create fresh ways of working. This approach enriches the practice of professionals working to support people with special needs, people recovering from trauma and social deprivation and a wide range of other service users. Despite the significant overlap in music therapy and dramatherapy techniques, this is the first book to directly explore the vast potential of elements of the two disciplines being brought together. Covering a range of different perspectives and practice contexts, this book demonstrates just how much the professions can offer each other both from a clinical perspective and from the point of view of training therapists.

Supervision of Music Therapy discusses the theoretical bases underlying approaches to supervision in music therapy, as well as focusing on the distinctive aspects of music therapy supervision from both clinical and conceptual perspectives. In this book, leading music therapy supervisors and researchers demonstrate how music therapy trainees and practising clinicians can be supported through supervision, allowing them to develop confidence and authenticity in their work. Contributors discuss supervision of clinical work with a variety of patients in a range of settings, from special education to forensic psychiatry, including work in schools, children's services and a dedicated music therapy centre. A chapter on the academic supervision of music therapists undertaking doctoral research is provided, together with an overview of the history and continuing development of the field. Supervision of Music Therapy contributes to current debates about approaches to supervision in music therapy, and offers the reader fresh perspectives on the subject, making this a book of value to practising therapists, supervisors and students alike.

This work brings together the experiences of practitioners who use group music therapy with diverse client groups in various settings. Chapters discuss work with children, adolescents, and adults of all ages, shiwing the wide range of applications for group music therapy: in assessment for clinical diagnosis; in work with clients who have learning disabilities, special educational needs, eating disorders or autistic spectrum disorders; and in neurological rehabilitation. Group music therapy is examined from different theoretical perspectives - including psychoanalytic and Foulkesian approaches - and in conjunction with art therapy.

Relating the innovative ways in which assistants and collaborators can become an integral part of a course of music therapy, this book explores how the involvement of a diverse range of individuals, such as family members, learning support assistants, caregivers and medical staff, can contribute to successful sessions. Illustrated by clinical examples, the book will help music therapists and students to make the most of opportunities to collaborate with individuals other than the client who may be present during therapy sessions. The book also takes into account the challenges that can arise in music therapy collaboration, and explores the relationships that can develop between music therapists, clients and collaborators.