The podcast of the British Association for Music Therapy. Luke Annesley talks to music therapists and other people about music therapy and related topics.
Tessa Watson is a music therapist and trainer. She is Associate Professor and Programme Leader for the MA Music Therapy at University of Roehampton and works in that setting with colleagues across the Arts and Play Therapies and other HCPC registered professions. She has extensive clinical experience in mental health and learning disability work and her current music therapy work is with the children and families who use Alexander Devine Hospice. Tessa has an interest in co-production and is one of the founders of HENCoP (The Health Education Network for Co-Production). Tessa has published and spoken widely about her music therapy work to support adults with profound and multiple learning disabilities, the experience of women in secure psychiatric settings, multi-disciplinary work and learning and teaching music therapy. She has contributed to the development of the profession in the UK (BAMT) and internationally (EMTC) and in 2020 led the BAMT online conference which attracted over 570 delegates. Tessa is an HCPC partner, working on CPD and FTP schemes. She plays cello and sings in local amateur musical groups. Tessa's most recent book, written with Cathy Warner is Contemporary Issues in Music Therapy Training, A Resource for Trainees, Trainers and Practitioners (Routledge 2024). Some other notable publications are ‘Music Therapy with Adults with Learning Disabilities - a view from the United Kingdom' in The Handbook of Music Therapy (2024), ‘Supporting the Unplanned Journey' in Collaboration and Assistance in Music Therapy Practice (2017), ‘The World is Alive! Music Therapy with Adults with Learning Disabilities' in the Oxford Handbook of Music Therapy, OUP (2016), Integrated Team Working: Music Therapy as Part of Transdisciplinary and Collaborative Approaches, London; Jessica Kingsley Publishers (2008) with Karen Twyford, and Music Therapy with Adults with Learning Disabilities, London; Routledge (2007). Links: https://www.routledge.com/Contemporary-Issues-in-Music-Therapy-Training-A-Resource-for-Trainees-Trainers-and-Practitioners/Watson-Warner/p/book/9781032853963?srsltid=AfmBOoqv92gfeHbBxe_zmiemr1pyCC769xqTMPqxlu1E7Hfqo-imlCXw https://alexanderdevine.org/ https://www.roehampton.ac.uk/study/postgraduate-taught-courses/music-therapy/
In episode 97, Davina Vencatasamy talks to her friend and distinguished colleague Jasmine Edwards. Jasmine Edwards, MA, LCAT, MT-BC (she/her) is a doctoral candidate and fellow within Steinhardt Music Education with a focus in music therapy at New York University. Jasmine holds a BM and MA in music therapy from Florida State University and NYU, respectively. Her clinical experiences include private practice, outpatient, school-based, community, and medical pediatric settings, and she is trained in NICU-MT, First Sounds: RBL, and Austin Vocal Psychotherapy. Jasmine has a vested interest in elevating dialogues about cultural humility within music therapy education and clinical practice within both her teaching and academic writing. She has served as an adjunct faculty member in the music therapy departments at Howard University, New York University, Montclair State University, Nazareth College, Duquesne University, and Molly University.
Tamsin is a multi-instrumentalist and composer with roots in the traditional dance tunes of the British Isles. Her debut solo album FREY (2022) established her as a rising star on the folk scene, with The Guardian praising her "beautiful, filmic compositions for accordion, harp, whistle and voice”. In this work Tamsin explores themes of limbo, pain, healing and acceptance, reflecting on the microcosm of her personal experience of chronic illness alongside wider themes of societal disconnection and environmental grief. Her forthcoming record The Meeting Tree celebrates connection, nature and the joy of sharing tunes with friends. Tamsin's critically-acclaimed collaboration with Egyptian oud player Tarek Elazhary explores the parallels and celebrates the idiosyncrasies of Egyptian Maqam music and English folk traditions. Their friendship and resulting duo album So Far We Have Come is a testament to the unifying power of music, and won them a place in The Guardian's Top Ten Folk Albums of 2023, as well as a nomination for Best Group at the Songlines Music Awards. A versatile composer-performer, Tamsin also contributes to chamber-folk quintet Hedera and festival-favourite Mediterranean fusion band Solana. As a Musician in Residence at UHBW NHS Trust, she channels her musical passion into healing and connection, writing new music on lever harp and playing for patients on wards including the ICU. This episode was recorded in Tamsin's studio in Bristol and it includes performances recorded especially for the podcast. Luke and Tamsin also discuss her work as a musician in residence and her cross-cultural musical collaborations. Tamsin's website, which includes details of recodings and forthcoming live dates, is here.
In this episode, Davina Vencatasamy talks to Dr Chamari Wedamulla. Chamari is an independent researcher specialising in music education, with expertise in integrating music therapy approaches to enhance student mental health and well-being. Previously affiliated with the Royal Birmingham Conservatoire and Birmingham City University, Chamari contributed to the Fair & Inclusive Music Midlands (FIMM) project commissioned by Arts Council England, exploring the perceptions of the Midlands music education landscape and current learning barriers faced by young people, while coordinating with a range of key stakeholders and organisations within the field. Chamari's PhD in Music Education and Music Therapy (Kingston University, London) focused on employing music therapy techniques in education to support adolescents' mental health. She was a steering group member of EDI MS, which is a cross-organisational network which aims to promote, support and share good practice in relation to Equality, Diversity and Inclusion in Music Higher Education in the UK. Chamari has co-authored reports for Arts Council England and contributed to publications such as The Routledge Companion to Women and Musical Leadership (2024).
Luke speaks to Jonathan 'Jaytee' Tang about his PhD research, which makes links between music therapy, music psychology and cultural psychology. They discuss the concepts of independent vs interdependent self-construal, and the relevance of this to musical interactions. This has some fascinating implications for music therapy practice. Jonathan (Jaytee) Tang has over nine years of international clinical experience as a music therapist, having worked in medical, special education, and mental health settings. His work with individuals and families from diverse cultural backgrounds fueled his passion for exploring the interconnections between culture, music, and well-being. Currently pursuing a PhD at the University of Sheffield, Jonathan's research focuses on how culture shapes emotional responses to music. His doctoral project specifically investigates the influence of cultural models of selfhood on affective experiences with music. Reference Taylor, S. E., Welch, W. T., Kim, H. S., & Sherman, D. K. (2007). Cultural differences in the impact of social support on psychological and biological stress responses. Psychological Science, 18(9), 831–837. https://doi.org/10.1111/j.1467-9280.2007.01987.x
Colin Lee talks to Martin Lawes about his musicology-oriented approach as a Nordoff-Robbins trained music therapist, and about the newly published Oxford Handbook of Queer and Trans Music Therapy which he edited. The podcast begins and ends with music. To start with, a composition by a music therapist commissioned to begin the handbook. To conclude, an improvisation from a music therapy session where Colin explains his musical decision-making as a therapist. Colin Andrew Lee studied piano at the Nordwestdeutsche Musikakademie and subsequently earned his postgraduate diploma in music therapy from the Nordoff-Robbins Music Therapy Centre, London, UK. Colin was awarded the Music Therapy Charity research fellowship completing his doctoral thesis on the analysis of improvisations with people living with HIV/AIDS at London Lighthouse, a center for people facing the challenge of AIDS. He continued his clinical work at Sir Michael Sobell House Hospice, Oxford, UK. After immigrating to North America, Colin taught at Berklee College of Music, Boston, USA, and later at Wilfrid Laurier University, Waterloo, Canada. Following the publication of Music at the Edge: The music therapy experiences of a musician with AIDS (1996, 2016), he subsequently created the theory of aesthetic music therapy that was the subject of Colin's monograph, The Architecture of Aesthetic Music Therapy (2003). Colin recently edited The Oxford Handbook of Queer and Trans Music Therapy (2024), and is currently editing The Oxford Handbook of Improvisation in Music Therapy. His research interests also include the analysis of postminimalist composers and their influence on the study of applied health musicology. References Lee, C. A. (2024) The Oxford Handbook of Queer and Trans Music Therapy. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780192898364.001.0001 Lee, C. A. & Dromey, C. (2023). Towards an applied health musicology: Aesthetic music therapy and beyond. In C. Dromey (Ed.), The Routledge Companion to Applied Musicology (pp. 184-191). Routledge. https://doi.org/10.4324/9781003042983
Tilly Mütter has repeated her roving reporter trick from EMTC 2022. This time she talks to various conference attendees at the BAMT conference in Leicester in May 2024, providing a variety of interesting perspectives on the weekend. the theme of the conference was 'About All of Us, For All of Us, By All of Us', with the primary aims of highlighting and promoting the development of Music Therapy. There are some familiar voices here (to Music Therapy Conversations listeners) along with some new ones. In order of appearance, Tilly spoke to: Naviella Dowds, Anthony Voelcker, Kelly Fraser, Duncan Campbell, Marianne Rizkallah, Helen Odell-Miller, Hakeem Leonard, Kirsty Jane, Kendra Bodden and Karen Diamond. A big thanks to all of these contributors! Before that, Tilly and Luke also share their own (somewhat hazy) recollections in the introduction. You can find another view from Marianne Rizkallah on her blog here, and no doubt there are more conference reports incoming. There were some fresh faces at this conference, new formats, and many inspiring moments, in a different sort of venue - plenty to reflect on and learn from!
In episode 91, Davina speaks to Crystal Luk-Worrall about EMDR and music therapy. Crystal Luk-Worrall is a music therapist and EMDR therapist working with the adoption community in London through her private practice Clap and Toot, as well as working with bereaved families through her work at Shooting Star Children's Hospices. She enjoys exploring multi-modality practice and systemic practice. Crystal also supports fellow freelance therapists and newly qualified therapists through her role as BAMT's freelance network coordinator. Clap and Toot | Music Therapy
In this podcast, Martin Lawes talks to Helen Wallace-Bell about SMI and RMI which are part of the contemporary spectrum of Guided Imagery and Music (GIM) and Music and Imagery (MI) methods Helen explains what these approaches are and how the recorded music used is chosen collaboratively to help the client develop their inner resources or work on issues. Helen is involved in MI training which also gets discussed. In addition, Helen talks about her work with clients who have PTSD and about online groupwork with carers. She discusses various music used in this work including Breezin' (George Benson, https://open.spotify.com/track/1m3BAsNsQAaSNMD2M6vlKY?si=af7875cabc884295), Angels Nest (Peter Kater, https://open.spotify.com/track/3ijj6aeXCKMZWsD0EdzneJ?si=ce6f4f6551184195), and Darkest Hour (Sevdaliza, https://open.spotify.com/track/0ZbHjO6HyoGMLq5dCQIYWm?si=f41ece3b7bf64b45). The podcast begins with Martin explaining how GIM in contemporary practice is a spectrum of different methods and approaches including MI. He outlines what the Bonny Method of GIM is, as the original GIM method, and how MI has been developed in part to meet the needs of clients where GIM is contra-indicated or is in other ways unsuitable. For music therapists wishing to use GIM with their existing clients, the MI methods are especially important. Helen Wallace-Bell, MA, BA (Hons), FAMI, MIT(Dip.), IMBP(Dip.) trained as a Music Therapist at the University of Roehampton, qualifying in 2007. She then worked for many years with adults with a learning disability. During this time, Helen began training in GIM, an experience she found transformative and enlightening both professionally and personally. She is now a GIM Fellow and MI Therapist (MIT) working in mental health, trauma, personal development, and group work (https://www.routesforchange.uk/). She is also an Independent Music Breathing Practitioner, Assistant Trainer and Supervisor at The Integrative GIM Training Programme (www.integrativegim.org), and a BAMT registered supervisor. Helen's GIM training cohort were the first to be trained in SMI and RMI in the UK and she is passionate about the efficacy and value of MI as a therapy process. She has presented case studies at a number of conferences, including sharing the results of an SMI groupwork pilot project undertaken with music therapy organisation Whole Step CIC during Covid-19 lockdowns, and her own experience as a trainee using MI to process transference/counter-transference. In her spare time, Helen enjoys living by the sea, and is a singer, songwriter, and percussionist in a folk trio. References Wallace, H. (2010) 'An Inquiry into an Integrated Approach to Music Therapy for Children with Autistic Spectrum Disorder & Sensory Integration Dysfunction'. MA research project, Roehampton University (unpublished). Margetts, L., Wallace, H. & Young, E. (2013) 'A Potential Space: Approaching "Outsider Research" with Classroom Practitioners working with Children with Complex Needs in Belarus', British Journal of Music Therapy, Vol.27, 2 p.6-23 (Co-Author) Wallace, H. (2018) 'A Whirlwind of Being', Music & Imagery Therapy Case Study outlining MI to process transference/counter-transference), presented at the 13th European GIM Conference, European Association of Music and Imagery (EAMI) Wallace, H (2021) 'Containment Through Collaboration: Online Therapy During Lockdown - A Pilot Project', Music & Imagery Therapy Groupwork Case Study, presented as part of a roundtable (Supportive Music & Imagery: Integrating Artwork & Imagery into Music Therapy practice), at The British Association for Music Therapy's annual conference (theme: 'Open Ground: Music Therapy in Collaboration & Exchange) Wallace, H (2022) 'The Way We Were: A multi-method approach to Music Therapy to support an adult with Learning Disability through bereavement', Music Therapy & Music & Imagery Therapy Case Study, presented at the 12th European Music Therapy Conference (theme: 'Music Therapy in Progress - Please Disturb') Wallace, H (2022) 'Online Group Music & Imagery Therapy During Lockdown', presented as part of a roundtable (The Use of Music & Imagery Methods as stand-alone interventions and as part of the continuum model), at the 12th European Music Therapy Conference Wallace, H. & Jakubauskas, R. (2022) 'A Sense of Belonging: Piloting an online Supportive Music & Imagery Therapy Group for Adult Carers during Covid-19', poster presentation at the 12th European Music Therapy Conference Wallace, H (2022) 'Reclaiming Jocelyn: One Woman's Journey Back to her Self through Music & Imagery Therapy', poster presentation at the 12th European Music Therapy Conference Wallace, H, & Jakubauskas, R (2023) 'Piloting Online Group Music & Imagery Therapy for Adult Carers during Covid-19', poster presentation at the World Federation of Music Therapy World Congress of Music Therapy
Emi talks with Davina about their recent debut at the BAMT Conference in May 2024 where they spoke about their experiences of being a deaf music therapist. Here are Emi's words of introduction: My name's Emi and my pronouns are they/them. I'm a deaf music therapist who currently works in older people's mental health in the NHS. I graduated from the University of Derby in 2022 with my master's in music therapy, where I became passionate about making music therapy more accessible to deaf people. Ever since, I've been working on publishing my independent scholarship on how my experience of music impacts my work, and I hope to use my career and research to platform the different ways disabled folks access music and music therapy.
This is the recording of the live discussion from the BAMT conference at the Curve Theatre Leicester on 18 May 2024. The conference panel was Luke Annesley, Rachel Darnley-Smith, Tilly Mutter and Davina Vencatasamy. Surprise special guests were Wendy Magee and Joy Gravestock, who happened to be in the audience, and excerpts were included from previous episodes from Wendy and Joy, along with Denise Wong and Mercedes Pavlicevic. The episode includes discussion about the genesis of the podcast, the processes of interviewing and being interviewed, and closer examination of excerpts from episodes selected by the panellists. Thanks to everyone who attended in person, and to BAMT for a wonderful and enriching conference.
Karen D. Goodman, PhD., Professor Emerita of Music, Montclair State University, Montclair, New Jersey, USA., has been the primary figure in designing and developing both the former undergraduate and graduate music therapy programs at Montclair over forty years. Professor Goodman's research-based clinical work, at ten clinical settings, includes music therapy practice in child and adult psychiatry and developmental disabilities at New York Hospital- Cornell Medical Center, Creative Arts Rehabilitation Center-NYC and educational programs in the Greater New York area. Currently an Associate Editor for Psychology of Music, Professor Goodman has served as Editor of Music Therapy: The Journal of the American Association for Music Therapy and other journals in education. Her publications include two widely acclaimed books: Music Therapy Groupwork with Special Needs Children: The Evolving Process (2007) and Music Therapy Education and Training: From Theory to Practice (2011) as well as two edited books International Perspectives in Music Therapy Education and Training: Adapting to a Changing World (2015) and Developing Issues in Music Therapy Education and Training: A Plurality of Views (2023). A frequent presenter at international music therapy conferences over many years, she lectures and consults internationally on topics related to her clinical work and higher education and the relationships between these, most recently her lifespan developmental stage model for music therapy supervision (Goodman, 2023). Her outreach services for clinical supervision, program design, editing, teaching and both book and grant review are described here: karendgoodmanconsulting.com References Arieti, S., (1955) Interpretation of schizophrenia. Goodman, K.D. (2023) The Music Therapy Supervisor: Developmental Perspectives. Aalborg, Denmark: Aalborg University Goodman, K.D. (Ed.) (2023) Developing Issues in World Music Therapy Education and Training. Springfield, Illinois: Charles C Thomas Publisher. Goodman, K.D. (Ed.) (2015) International Perspectives in Music Therapy Education and Training: Adapting to a Changing World. Springfield, Illinois: Charles C Thomas Publisher. Goodman, K.D. (2011) Music Therapy Education and Training: Theory to Practice. Springfield, Illinois: Charles C Thomas Publisher. Goodman, K.D (2007) Music Therapy Groupwork with Special Needs Children: The Evolving Process. Springfield, Illinois: Charles C Thomas Publisher. Goodman, K.D. (2015) Book Publication in Music Therapy (In) K.D. Goodman (Ed.) International Perspectives on Music Therapy Education and Training: Adapting to a Changing World. Springfield, Illinois: Charles C Thomas. Kaufman, D. L. & Goodman, K.D. Cracking Up and Back Again: Transformation through Music and Poetry. In Z. Li & T.L. Long, (Eds.) (2010) The Meaning Management Challenge: Making Sense of Health, Illness and Disease, Oxford, UK: Inter-Disciplinary Press, pp. 117-129. Goodman, K.D. (1981) Music Therapy, Chapter 29. In S. Arieti (Ed.) The American Handbook of Psychiatry. New York: Basic Books Goodman, K.D. (2008) Cracking Up and Back Again: Book Review. Arts in Psychotherapy. 35(2) Goodman, K.D. (1989) Music Therapy Evaluation of Emotionally Disturbed. Children. Arts in Psychotherapy. 16(2), 179-192. Goodman, K.D. (1986) Book reviews. Journal of Music Therapy, 23 (1).
Holly Shirra is a qualified music therapist who holds her focus on helping people connect in community and express themselves creatively and authentically. With classical piano training from a young age, Holly discovered a passion for free improvisation while studying music therapy, which she completed in 2020. To help her understand further how people spontaneously create in groups, Holly founded 'Cambridge Music Improv' - a community project that gathers people from diverse backgrounds in public spaces to improvise music together. This supportive environment allows participants to tap into their creative side and find catharsis and self-expression while building connections with others. Alongside her community work, Holly has extensive experience in musical education, teaching piano to children since the age of 15. She continues to share her love of music through teaching as a regular part of her work. In her spare time these days, Holly likes to find balance through cooking, rock climbing, meditation, and spending time in nature. Here is a link to Holly's documentary about the group: https://www.youtube.com/watch?v=38w-ygwKaIY&t=43s
Jessica Leza is a board-certified music therapist, author, and multimedia artist. She graduated with a Bachelor of Music in Music Composition from the University of North Texas and a Master of Arts in Music Therapy from Texas Woman's University. Leza's music therapy scholarship and advocacy centers around neurodiversity, disability justice, culture, and LGBTQ+ liberation and includes publications in The Neurodiversity Reader, Sociocultural Identities in Music Therapy, and The Oxford Handbook of Queer and Trans Music Therapy, as well as the solo-authored An Introduction to Neurodiversity and Autistic Culture for (Music) Therapists. Leza's multimedia works have been showcased in film and arts festivals across the US and Europe, China, and South America. Luke and Jessica discussed her process of becoming a music therapist and her recent experiences of clinical practice, followed by the concepts of neuroqueering and neurocosmopolitanism as they might apply to music therapy. e-Book: https://www.etsy.com/listing/1492591757/an-introduction-to-neurodiversity-and Paperback: https://www.etsy.com/listing/1510338925/paperback-an-introduction-to https://jessicaleza.com/ References Hadley, S. 2021 Sociocultural Identities in Music Therapy. United States: Barcelona Publishers. Lee, C. 2024 Oxford Handbook of Queer and Trans Music Therapy. United Kingdom: Oxford University Press, USA. Leza, J. (n.d.). An Introduction to Neurodiversity and Autistic Culture for (Music) Therapists. United States: La Migdalia Press. Walker, N. (2021). Neuroqueer Heresies: Notes on the Neurodiversity Paradigm, Autistic Empowerment, and Postnormal Possibilities. United States: Autonomous Press.
Luke talks to Den Vecchio, a play therapist living and working in Bristol, UK. They discuss the principles of play therapy, why play therapy has become more available in mainstream schools in recent years, and overlaps with music therapy practice. Also - why every play therapist should have snakes, spiders and crocodiles in their collection! Den is a thoughtful practitioner and was a very entertaining and engaging podcast guest. As a music therapist, you're perhaps unlikely to have come across her, but don't let this discourage you from listening to this fascinating episode. There's lots of food for thought here, in particular for music therapists who work with children and young people. Den Vecchio's website: https://thegardenroombristol.com/author/denvecchio/ References Axline, V. M. (1975). Dibs: In search of self. Mansion.
Evelyn Mason is an experienced music therapist and Vice-Chancellor's PhD Student at the Cambridge Institute for Music Therapy Research at Anglia Ruskin University (ARU) in Cambridge. Chroma Therapies and the Independent Neurorehabilitation Providers Alliance (INPA) are collaborating with ARU on this study which focuses on music therapy to address the emotional challenges of family caregivers of people with Huntington's disease. As a practising clinician, she has specialisms in brain injury rehabilitation, adoption, dementia, learning disability and hospice care. Having completed her MA Music Therapy training at ARU in 2008, she worked for the Northern Ireland Music Therapy Trust in Belfast, with children with learning difficulties in Chennai, India, for Methodist Homes Association (MHA) in central England, for Chroma Therapies with individual adoption cases, and currently works with Chroma Therapies as a Neurologic Music Therapist at a brain injury rehabilitation unit in Bristol. Evelyn employs an integrative approach in her clinical work. At times, she uses psychodynamic processes at the pre-assessment phase to understand relational or engagement issues with the client. Evelyn seeks to adopt a desire-based approach by putting the client's choices at the core of the therapeutic journey. She works within the scientific theory model when carrying out her rehabilitation work, seeking to enable the client to benefit from inter-disciplinary working and patient-centred rather than discipline-centred programs. Evelyn's future research interests are related to the field of neuro-disability. They include: Developing musical techniques to address neurologically-induced sensations. Examining music therapy techniques to address speech deficits in stroke patients diagnosed with aphasia. Analysing connections between social issues and acquired brain injury. Developing online music therapy models for carers of people with neurodegenerative conditions. References/links: The Academy of Neurologic Music Therapy – -In Memory of Robert F. Unkefer (nmtacademy.co) https://nmtacademy.co/wp-content/uploads/2016/04/nmt-definitions.pdf Bruscia, K.E. (2014) Defining music therapy. 3rd ed. Gilsum, NH: Barcelona Publishers. Rolvsjord, R. (2016) Resource-Oriented Perspectives in Music Therapy. Oxford University Press. Thaut, M. and Hœmberg, V. (2016) Handbook of neurologic music therapy. Oxford: Oxford University Press.
Elaine is a BAMT registered clinical supervisor, and consultant lead visitor for the HCPC. She studied piano and composition at GSMD, and trained as a music therapist with Dr Paul Nordoff and Dr Clive Robbins in London. After running the music therapy service at the CDC, Charing Cross Hospital for several years, and completing an MA research thesis in music therapy at the University of York, Elaine was appointed Senior Lecturer at the Roehampton Institute where she developed a new post-graduate course in Music Therapy. Her music therapy practice with children, young people, and adults ran alongside her lecturing work, She trained as a psychodynamic counsellor at the Westminster Pastoral Foundation and taught various aspects of music therapy at the Guildhall School of Music and Drama for many years, including clinical improvisation. Following a Churchill Research Fellowship in the 1980's, Elaine initiated, developed and coordinated the BAMT (formerly APMT) post training supervision scheme for registered music therapists in the UK. She has an established supervision practice working with individual therapists and small group supervision for and supervisors working in the UK and abroad. Previous Roles Acting Head of Music Therapy, Guildhall School of Music and Drama, London. Visiting Professor of Music Therapy Guildhall School of Music and Drama, London. Senior Lecturer in Music Therapy, Clinical Tutor, and Clinical Music Improvisation Tutor, Anglia Ruskin University, Cambridge. Head of Music Therapy Training, Senior Lecturer, University of Roehampton UK. Initiator and Coordinator of the Association of Professional Music Therapists* Post-Diploma Supervision Scheme, UK. Music Therapy Group Training Therapist for students studying for Masters in Music Therapy degrees at : Guildhall School of Music and Drama, the Nordoff Robbins Centre London, University of the West of England, and Anglia Ruskin University, Cambridge. Music Therapy Charity Ph,D. Research Fellowship at the University of York. University of York PhD Research Fellowship in Music Therapy, Churchill Fellowship in Music Therapy. Clinical Music Improvisation Tutor, Nordoff Robbins Institute at Southlands College. Head Music Therapist, Child Development Centre, Paediatric Department, Charing Cross Hospital, London. References Streeter, E. et al: The Arts in Psychotherapy 39 (2012) 1–10 'Computer aided music therapy evaluation: Testing the Music Therapy Logbook prototype 1 system' Streeter, E. (2011) 'From Trainee to Practitioner: the supervision of registered music therapists' Chapter 13 in Karen D Goodman's 'Music Therapy Education and Training: from Theory to Practice' Charles C Thomas publisher USA ‘Streeter, E. (2010) ‘Computer-Aided Music Therapy Evaluation: Investigating and Testing the Music Therapy Logbook Prototype I' Ph,D. Thesis (York) Streeter, E. (2006). What Are We Doing to Ourselves? The Branding of Music Therapy in Academia. In: Hadley, S. (Ed), Feminist Perspectives in Music Therapy. Gilsum, NH: Barcelona Publishers. p.359. Streeter, E. (2001). Making Music with the Young Child with Special Needs: A Guide for Parents. Revised Edition London: Jessica Kingsley Publishers. Streeter, E. (1999) Finding a balance between psychological thinking and musical awareness in music therapy theory — a psychoanalytic perspective. British Journal of Music Therapy Streeter, E. (1999) Definition and Use of the Musical Transference Relationship. In: Wigram, T. & De Backer, J. (Eds), Clinical Applications of Music Therapy in Psychiatry. London: Jessica Kingsley Publishers. Chap.15, p.84-90. Streeter, E. (1981).Towards a Theoretical Understanding of Rhythmic Responses in Music Therapy. British Society of Music Therapy. Monograph. Available from: British Association of Music Therapy, UK. Streeter, E. (1979). A Theoretical Background to the Interpretation of Rhythmic Skills, with Particular Reference to the Use of Music Therapy as an Aid to the Clinical Assessment of Pre-School Children. MA Thesis. Department of Music, University of York.
Prof. Dr. Gitta Strehlow is Professor of Music Therapy at the University of Music and Drama Hamburg in Germany and a Music therapist at the Clinic for Psychiatry and Psychotherapy at the AGAPLESION Bethesda Hospital Hamburg-Bergedorf, Germany. Her research areas include: psychodynamic music therapy, trauma, psychiatry and mentalization. She undertook special education teacher training with music as a subject, University of Hamburg and Hamburg University of Music and Drama (1986-1994), field research in Indonesia exploring gamelan music (1994-1995). She was a teacher at a special school (1997-2000) before embarking on a diploma in music therapy at the University of Music and Theater Hamburg (1997-2000). Practical research: music therapy with sexually abused children and adolescents, Institute for Music Therapy at the University of Music and Theatre Hamburg (Prof. Dr. Decker-Voigt) in conjunction with the association Dunkelziffer e.V. (1997-2005). Self-employed there. Music therapist from 2005. Gitta has been a music therapist at the Clinic for Psychiatry and Psychotherapy at Bethesda Hospital Hamburg-Bergedorf (since 2000). Further training in psychodynamic-imaginative trauma therapy (2002). National and international lecturing and teaching activities (since 2004). Further training in Mentalization-Based-Treatment (MBT) with P. Fonagy and A. Bateman (2007). Her doctorate was entitled "Töne an der Grenze, Interaktionsmuster in der musiktherapeutischen Begegnung mit Patienteninnen, die unter einer Borderline-Pönlichkeitsstörung leiden" (“Tones on the borderline, interaction patterns in music therapy encounters with patients who suffer from borderline personality disorder“). She has also conducted post-doctoral research into Borderline personality disorder patients in music therapy in Belfast in 2015). She has held a part-time professorship "Psychoanalysis/Psychodynamic Theory and Practice" at the Institute for Music Therapy at the Hamburg University of Music and Drama since October 2019. Webpage: https://www.hfmt-hamburg.de/hochschule/organisation/personen/gitta-strehlow PUBLICATIONS Strehlow, G. (2023 in press) Selected contemporary approaches to music therapy in psychiatry. Music & Medicine, Volume 15/ 4 Strehlow, G. (2023) Alliance Rupture in Musiktherapie In. Die Psychotherapie, 68/4, S. 289-295 Strehlow, G. (2023) Hamburg Institute for Music Therapy: A Model for free Improvisation within Psychodynamic Music Therapy. In: K. Goodman (Ed.) Developing Issues in World Music Therapy Education and Training: A Plurality of Views. Charles C. Thomas. P. 49-71. Strehlow, G. (2021) Trust development is essential in music therapy, Nordic Journal of Music Therapy, Vol. 30, No1,97-99. DOI: 10.1080/08098131.2020.1812272 Strehlow, G. (2021). Trauma, Mentalisierung und künstlerische Therapien, Band Trauma II, Forum für Kunsttherapien, Fachverband für Gestaltende Psychotherapie und Kunsttherapie, Schweiz (S. 13-18) Strehlow, G. (2021). Stichwörter „Borderline-Persönlichkeitsstörung“ und „Mentalisierung“. In: H.-H. Decker-Voigt & E. Weymann (Hg): Lexikon Musiktherapie, 3. Auflage Göttingen u.a.: Hogrefe Verlag, S. 83-88; 340-346. Strehlow, G. & Spitzer C. (2020). Dissoziative Störungen. In U. Schmidt, T. Stegemann, C. Spitzer (Hg.): Musiktherapie bei psychiatrischen und psychosomatischen Störungen. München: Elsevier Urban & Fischer, S. 112-118 Strehlow, G. & Schmidt, U. (2020). Borderline-Persönlichkeitsstörungen. In: U. Schmidt, T. Stegemann, C. Spitzer (Hg.): Musiktherapie bei psychischen und psychosomatischen Störungen. Elsevier Urban & Fischer, S. 135-138 Strehlow, G. (2020). Musiktherapie mit Opfern sexueller Gewalt. In: A.Wölfl & S. Siebert (Hg.). Musiktherapie mit Opfern von Missbrauch und Gewalt. Wiesbaden: Reichert Verlag. S. 47-59 Strehlow, G. (2020). Traumata und deren Auswirkung. In: Spektrum der Musiktherapie. VdM (Verband deutscher Musikschulen). S. 84-86 Strehlow, G. (2019). How Neuro Research supports Music Therapy with Children who have experienced Sexual Abuse. In: Music Therapy Today, open access, music-therapy-today, special issue: Trauma. S. 59-77 (Mentalising) Strehlow, G. (2019): Musiktherapeutische Cochrane Studien im Bereich der Psychiatrie. In: GMS Journal of Arts Therapies – Journal of Art-, Music-, Dance-, Drama- and Poetry-Therapy. GMS J Art Ther 2019;1:Doc04 Strehlow, G. & Hannibal, N. (2019). Mentalizing in improvisational music therapy, In: Nordic Journal of Music Therapy, 28:4, 333-346, DOI: 10.1080/08098131.2019.1574877 Keller, J.; Strehlow, G.; Wiesmüller, E.; Wolf, H.G. & Wölfl, A. (2018): Methodische Modifikationen für die musiktherapeutische Behandlung von Patientinnen mit Traumafolgestörungen. In: MU, 39(1), S. 12-22 Fenner, F.; Abdelazim, R.; Bräuninger I.; Strehlow, G. & Seifert, S. (2017): Provision of arts therapies for people with severe mental illness. In: Curr Opin Psychiatry, 30, 306 – 311 Strehlow, G. & Schmidt, U. (2017): Musiktherapie bei Patienten mit Borderline-Persönlichkeitsstörung. In PTT, Schattauer 2, S. 129-138. Strehlow, G. (2016). Traumatische Erfahrungen und ihre Behandlungsmöglichkeiten in der Musiktherapie. Musik und Gesundheit, Hg. Decker-Voigt. Wiesbaden: Reichert Verlag. 30, S.14-18 Strehlow, G. & Lindner, R. (2016): Music therapy interaction patterns in relation to Borderline Personality Disorder (BPD) patients. In: Nordic Journal of Music Therapy, 2, 134-158. Strehlow, G. & Schmidt, U. (2015). Musiktherapie bei Patienten mit Borderline-Persönlichkeitsstörung – ein Überblick. Musik und Gesundsein, Hg. Decker-Voigt, Wiesbaden: Reichert Verlag. S. 15-21. Strehlow, G. (2014): Förderung der Mentalisierungsfähigkeit in der Gruppenmusiktherapie. Hg. (DMtG) Jahrbuch Musiktherapie. Wiesbaden: Reichert, S. 197-214 Strehlow, G. (2013): Music versus shard. In: Metzner, S. (Ed.): Reflected Sounds. Case Studies from Music Therapy. E-book. Gießen: Psychosozial-Verlag. Übersetzung von 2007 Strehlow, G. (2013): Mentalisierung und ihr Bezug zur Musiktherapie. In: MU, 34(2), S. 135-145 Strehlow, G. (2012): Scham und Musiktherapie bezogen auf die Problematik des sexuellen Missbrauchs. In: MU, 33(3), S. 228-237. Monographie: Strehlow, G. (2011): Töne an der Grenze. Interaktionsmuster in der musiktherapeutischen Begegnung mit Patientinnen, die unter einer Borderline-Persönlichkeitsstörung leiden. Online Veröffentlichung der Dissertation: http://www.sub.uni-hamburg.de/opus/volltexte/2011/4968 Strehlow, G. (2009a): Mentalisierung und ihr Nutzen für die Musiktherapie. In: MU, 30(2), S.89-101. Strehlow, G. (2009b): The use of music therapy in treating sexually abused children. In: Nordic Journal of Music Therapy, 18(2), S. 167–183.
Georgina Aasgaard Cellist and Music and Health Practitioner Georgina Aasgaard is a Liverpool based Cellist and Music and Health practitioner who has a passion for bringing Music from the concert platform to challenging and more intimate environments. She has 20 years of experience delivering music interventions in a broad range of health and social settings such as hospitals, mental health units, prisons, homes for the elderly as well as community centres for refugees and the homeless. Her practice includes 15-year partnerships with the Royal Liverpool Philharmonic Orchestra, Mersey Care NHS Foundation Trust, Alder Hey NHS Foundation Trust and Live Music Now. She has also aworked for 10 years with DadaFest and Drake Music, engaging with people with disabilities through music making and technology . As a musician in residence, she has led innovative and groundbreaking programmes which include both one to one interaction on intensive care units and group work in mental health units. She has co-created recovery courses, co-produced performances, exploring skills such as improvisation, composition, songwriting, music technology, and including employability opportunities. Her activities have been measured through co-evaluation methods and continuous contact with patients and service users. These collaborations have enabled her to draw on her experiences to create context specific training and mentoring programmes. She is currently developing a toolkit for musicians working in healthcare, informed by her collaborative work over the years and her research activities. Georgina was awarded a Pre-doctoral Local Authority Fellowship by the NIHR, as a Director of Training and Development Research for Live Music Now, working in partnership with the University of Liverpool to investigate the influence of non-clinical music interventions on mental health. She currently works in close collaboration with The Liverpool Centre for Health, Art, Society and Environment (CHASE) at the University of Liverpool aiming to foster critical inquiry, dialogue and creativity to build new knowledge about enabling creative communities through music collaboration and cross-sector partnerships. As part of this collaboration, she has been granted a new Community Innovation Practitioner (CIP) award funded by the AHRC to investigate how collaborations between academics and partners from across different sectors can work to benefit health and wellbeing. Awards and Honorary Fellowship · 05/07/2022: Festival of Learning Awards: Winner of the President's Award. Music and Mental Health Programme at the Life Rooms, Royal Liverpool Philharmonic, Lead musician · 01/02/2021: Liverpool City Region Culture and Creativity Awards: Winner of the Impact Award on Health and Wellbeing Royal Liverpool Philharmonic, Lead Musician · 01/05/2019: Winner of the Merseyside Woman of the Year in the category of Arts, Culture and Media · 01/03/2016: NHS Award in Health and Care - Certificate of Recognition for Commitment to learning in Health and Care · 01/09/2011: University of Liverpool Honorary Fellowship, Music and Wellbeing · 01/09/2010: NHS Positive achievement Award in Mental Health
Katie Bycroft is a musician, music therapist, supervisor and advocate for access to musical experiences for all. She trained at the Guildhall in 1998, having initially studied Oriental Studies (Japanese) at Cambridge University. Music was important from very early days, and she immersed herself in flute playing from the age of 8, taught by her flautist aunt. Music has always been a way for her to connect with people from other cultures, from youth orchestra and choir trips to Europe, to joining a folk music group in Japan as well as singing the Messiah in Japanese while living there in the 1990s. Her latest musical adventure has been to move to Malta to work for Villabianca Centre for Music and the Arts, a new music therapy project set up in 2021 by The Malta Trust Foundation. This unique opportunity to be involved in establishing a music therapy service where none existed before has been transformational in many ways, for many people. She continues to be active in the UK music therapy world, as Supervision Network co-ordinator for BAMT, clinical placement seminar leader at UWE, and working together with University of the West of England to establish a blended, distance-learning music therapy training for trainees based in Malta. Music therapy continues to bring welcome connections, with a visit during a recent trip to Australia to the Noro Music Therapy Centre just outside Sydney. She is also Director of the Oxford Flute Summer School which continues after 35 years to attract flautists from all over the world for a wonderful week of flute playing with like-minded people. Luke spoke to Katie in person, at University of the West of England, Bristol in August 2023.
Beth Pickard is a Senior Lecturer, Researcher and PhD Supervisor at the University of South Wales. Her music therapy teaching and practice is heavily informed by her research in Critical Disability Studies. Beth's research explores how disability is socially constructed, interpreted and represented across disciplines and pedagogy. Beth is a passionate ally, activist and advocate of social justice and anti-oppressive practice. She is also currently a consultant for the National Music Service for Wales on developing access to musical opportunities for children and young people with additional learning needs, a researcher for Live Music Now across a range of projects informed by the Sounds of Intent framework and an evaluator for The Amber Trust's portfolio of inclusive music schemes. Beth is currently involved in a research project with Hilary Davies about the lived experiences of disabled music therapists in the UK, and with counselling psychologist Rachel Davies about service user engagement in curriculum development processes. Luke spoke to Beth in person at USW, Newport, in July 2023. References Low, M. Y. et al., (2023), 'Exploring the Lived Experiences of Young Autistic Adults in Nordoff-Robbins Music Therapy: An Interpretative Phenomenological Analysis', Nordic Journal of Music Therapy, 32(4), p. 341-364. Pickard, B. (2022), ‘The Importance of Collaboration: Valuing the Expertise of Disabled People Through Social Confluence' in King, H. (Ed), Developing Expertise for Teaching in Higher Education: Practical Ideas for Professional Learning and Development, SEDA / Routledge. pp. 69-84.https://doi.org/10.4324/9781003198772-7 Pickard, B. (2022), 'Anti-Oppressive Pedagogy as an Opportunity for Consciousness Raising in the Music Therapy Profession: A Critical Disability Studies Perspective', British Journal of Music Therapy, Special Issue: Equality, Diversity, Inclusion and Belonging. 36(1), p. 5-15. https://doi.org/10.1177/13594575221078582 Pickard, B. (2020), 'Challenging Deficit Based Discourse in Higher Education Through a Social Connection Model of Disability: A Critical Disability Studies Perspective', PhD by Portfolio, University of South Wales, Available at https://pure.southwales.ac.uk/en/studentTheses/challenging-deficit-based-discourse-in-higher-education-through-a Pickard, B. (2020), ‘A Critical Reflection on the HCPC Standards of Proficiency for Arts Therapists: A Critical Disability Studies Perspective', British Journal of Music Therapy, 34(2), p. 82-94, https://doi.org/10.1177/1359457520971812 Young, I. M. (2006), ‘Responsibility and Global Justice: A Social Connection Model', Social Philosophy and Policy, 23(1), p. 102-130. Young, I. M. (1990), Justice and the Politics of Difference, New Jersey: Princeton University Press.
Luke spoke to music therapist Alphonso Archer about his career in music, music education, music therapy, and football coaching. This has included big personal challenges, inspiring moments and the development of innovative and creative approaches. Alphonso says: I spent over 25 years immersed in IT, Software, and Artificial Intelligence, building a career rooted in technological expertise. However, a personal diagnosis of prostate cancer and a brain arteriovenous malformation (AVM) in 2016 marked a pivotal moment, guiding me towards the world of music therapy. My transition was also profoundly influenced by my personal experiences. Growing up with a father diagnosed with schizophrenia offered me firsthand insights into the complexities of mental health. My academic exploration in this area led to a dissertation titled "Ambiguities in the Diagnosis of Schizophrenia Amongst Ethnic Minorities", shedding light on mental health nuances within the black community. I trained as a music therapist at the University of the West of England (UWE), graduating with distinction in 2022. As a newly qualified freelance music therapist, I work with neurodiverse children, particularly those with autism and other co-occurring conditions. My therapeutic approach also encompasses adults with autism and those managing mental health challenges. Collaborating with a cancer charity, I facilitate music therapy sessions tailored for those navigating the aftermath of a cancer diagnosis. I am publishing my master's dissertation, which centres on "How Black Men Use Music to Cope with the Psychosocial Symptoms of Their Prostate Cancer Post Treatment". This research underscores my interest and commitment to understanding the intricate connections between music, therapy, race, and health outcomes. At the 2022 European Music Therapy Conference, I had the opportunity to co-present with Dr Kate Jones, who introduced her music therapy toolkit designed for children with selective mutism. I was also involved in workshops and discussions surrounding race and belonging, social dreaming matrix and shared my thoughts on the future trajectory of the music therapy profession. Music has been a constant as a multi-instrumentalist, starting in church and rich experiences such as playing guitar in the Derbyshire Youth Jazz Orchestra to jazz piano lessons with composer and recitalist James Harpham. For over two decades, I have taught piano, guitar and bass, instruments that I've been connected to since my early years. You can contact me via my new website: www.livingwellthroughmusic.com Twitter: @AlphieArcher
In this episode, Luke talks to Hilary Davies, with a focus on music therapy and neurodiversity. Hilary Davies is a freelance music therapist currently specialising in working with autistic adults, including recently-diagnosed autistic adults and autistic adults with co-occurring conditions such as complex PTSD. She is also working towards a PhD on the topic of neurodiversity paradigm-informed music therapy practice with autistic people at the Guildhall School of Music and Drama, funded by the Guildhall EDI in Music Therapy PhD Studentship. Hilary has also worked in a variety of other music therapy roles, including setting up and leading projects for Music Place North West (in hospice care) and Entelechy Arts. Hilary trained as a music therapist at the Guildhall School of Music and Drama, graduating with distinction in 2019. She also studied Music at the University of Cambridge (Gonville and Caius College). Prior to training as a music therapist, Hilary worked as a music teacher and freelance performer for more than a decade. Alongside her research on music therapy with autistic people from a neurodiversity paradigm-perspective (a topic on which she has published as well as presenting at various conferences including BAMT 2021, European Music Therapy Conference 2022, World Music Therapy Congress 2023 and guest lecturing at various universities) Hilary has research interests in music therapy with adults with profound and multiple learning disabilities, and music therapy and disability studies, including the experience of disabled music therapists (she is currently involved in a Music Therapy Charity funded research project on this topic with Beth Pickard). She is the founder and co-ordinator of the BAMT Support Network for Disabled Music Therapists, and advocates in various ways for the increased inclusion and understanding of disabled people within the music therapy profession. Links Amanda Baggs - ‘In My Language' - https://www.youtube.com/watch?v=JnylM1hI2jc References Davies, H. (2022) “Autism is a way of being”: An Insider Perspective on Neurodiversity, music therapy and social justice” in British Journal of Music Therapy 36 (1). Devlin K (2018) “How do i see you, and what does that mean for us? An autoethnographic study” in Music Therapy Perspectives 36(2). Harris, T. A. (2012). I'm OK, you're OK. Random House. Milton, D. (2012) “On the ontological status of autism: the ‘double empathy problem'” in Disability & Society 27 (6) Pickard B, Thompson G, Metell M, Roginsky E., Elefant C. (2020) “‘It's Not What's Done, But Why It's Done': Music therapists' understanding of normalisation, maximisation and the neurodiversity movement” in Voices: A World Forum for Music Therapy 20(3) Price, D (2022) Unmasking Autism: The Power of Embracing our Hidden Neurodiversity New York: Penguin Random House Singer, J (1998 / 2017) NeuroDiversity: The Birth of an Idea. Kindle Edition. Shiloh, C.J. & Blythe Lagasse, A. (2014) “Sensory Friendly Concerts: A community music therapy initiative to promote Neurodiversity” in International Journal of Community Music 7 (1) Walker, N. (2012) “Throw Away the Master's Tools: Liberating Ourselves from the Pathology Paradigm” in J. Bascom (ed.)Loud Hands: Autistic People, Speaking Washington: Autistic Self-Advocacy Network. Walker, N. (2021) Neuroqueer Heresies: Notes on the Neurodiversity Paradigm, Autistic Empowerment, and Postnormal Possibilities Fort Worth: Autonomous Press. Winter P (2012) Loud hands and loud voices. In: Bascom J (ed.) Loud Hands: Autistic People, Speaking. Washington, DC: Autistic Self-Advocacy Network.
Luke spoke to the musician Robert Mitchell about his life as a creative artist and the importance of music and other arts to society and, more broadly, for humankind. Robert Mitchell is one of the most significant voices in British jazz. Multi-faceted creator, pianist, keyboardist, composer, improviser, writer, poet and so much more. He is a relentless seeker and thinker, encompassing many art forms, musical genres and constantly pushing the envelope. In the last year he has released the extremely contrasting albums “Hold The Light/The New Resistance' DOF004 (from his unit TRUE THINK) and 'Towards The Flame' 577 Records (from the improv trio The Flame). He has released 13 albums. Robert is a throwback to the powerful tradition of artistic mastery in pursuit of transcendence. He is proud to have been a Steinway artist since 2009. He was MD on the successful BBC4 television programme ‘Jazz 625 Live: For One Night Only' which won the British Broadcasting Award. He has played with Billy Harper, Greg Osby, Courtney Pine CBE, Alicia Olatuja, Orphy Robinson, Steve Coleman, Phil Ranelin, Omar Puente, Ernesto Simpson, Daymé Arocena, Jason Rebello, Shirley Smart, Basement Jaxx, Dub Colossus, Daniel Casimir, Joshua Redman, Jacqui Dankworth MBE, and many others. Robert Mitchell's works have been performed by the Grammy-winning Bournemouth Symphony Chorus and the London Sinfonietta, amongst others. He is a sought-for composer and known as an innovator with a distinct, unique voice. Robert has performed solo piano since the 90s. Recent concerts include Romania, Derby, Coventry, London with more on the way this year in Newcastle, Brighton and Bristol. His 2020 album The Rainbow Mountain/Can We Care' - was a near 40 min improvisation (completed with one of his original songs - live at the Jazz Cafe, London). Solo performances now include original music, Classical, Jazz, improvisations, left hand only, inside piano and poetry. He releases his second collection of poetry later this year - on Common Tone Press. Robert is a Professor of Jazz Piano (Guildhall School Of Music And Drama), Piano Lecturer (Leeds Conservatoire) and Piano teacher at YMM. https://robertmitchell.bandcamp.com/album/hold-the-light-the-new-resistance-dof0004 https://twitter.com/robertmitchellm https://www.instagram.com/robertmitchellmusic/
Luke spoke to Preet Kalsi about her musical upbringing, and her training and subsequent work as a music therapist. The conversation also explored the relationship between psychodynamic and indigenous perspectives in her work. Gurpreet Kaur Kalsi is from Sabah, Malaysian Borneo, and of Punjabi and Kadazan (Indigenous to Sabah) heritage. She is a music therapist and GIM therapist. She works with clients of all ages with psychiatric and medical conditions in healthcare, community, education, and corporate settings. Her work navigates psychodynamic approaches with culture and Indigenous concepts towards the dynamics of life and healing within oneself, the community, and the environment. She has recently begun incorporating EMDR with music therapy and GIM in the treatment of trauma. Instruments referred to during the conversation https://youtu.be/BLFSV79KwnQ - the knobbed gongs that are played communally. It accompanies the Sumazau dance at Pesta Magavau, the rice Harvest Festival in May, and at all social events and gatherings. https://youtu.be/1yKZNKNZhrc - the sompoton. played by blowing and drawing air. https://youtu.be/kHj9Zrg_VxU - the tongkungon - a bamboo zither for playing the 'tagung' (gong) rhythm pattern. The strings are bamboo strips cut from the bamboo node. References Colonialism and Music Therapy Interlocutors (CAMTI) Collective (2022) Colonialism and Music Therapy. Barcelona Publishers. Pugh-Kitingan, Jacqueline. (2014). Balancing the Human and Spiritual Worlds: Ritual, Music and Dance Among Dusunic Societies in Sabah. Yearbook for Traditional Music, 46:172-192. Pugh-Kitingan, Jacqueline, Hanafi Hussin & Judeth John Baptist. (2009). Symbolic Interactions between the Seen and the Unseen through Gong Music and Dance in the Lotud Mamahui Pogun. Borneo Research Journal, 3:221-237. Pugh-Kitingan, Jacqueline, Hanafi Hussin & Judeth John Baptist. (2009). A Conduit Between the Seen and Unseen: Comparing the Ritual Roles of Drumming and Gong Ensemble Music in the Mamahui Pogun of the Lotud of Tuaran and the Monogit of the Kadazan of Penampang, Sabah. Tirai Panggung. Jurnal Seni Persembahan, 9:98-123. Pugh-Kitingan, Jacqueline & Judeth John Baptist. (2009). Music for Cleansing the Universe—Drumming and Gong Ensemble Music in the Mamahui Pogun Ceremonies of the Lotud Dusun of Tuaran, Sabah, Malaysia. Borneo Research Bulletin. 40:249-276.
This episode is Luke's conversation with Giorgos Tsiris, with a focus on spirituality and music therapy. Born and raised in Athens, Greece, Giorgos moved to London in 2007 for his music therapy training. For the past 14 years, he has worked as a music therapist in diverse palliative care contexts for adults with incurable illnesses, their families and their local communities. He has developed collaborative community and intergenerational projects disrupting societal assumptions about death and dying, and his work has received national awards and informed similar arts initiatives internationally. Alongside his practice, Giorgos has a multifaceted research portfolio with extensive experience in issues pertaining to service evaluation and professionalisation in music therapy and within the wider field of arts and health, and in 2014 he co-authored two books on service evaluation and research ethics respectively. His doctorate focused on spirituality and its place in music therapy. Through an ethnographic lens, his research has brought to the fore the ‘doing' of spirituality, its messiness and its performance within everyday music therapy contexts. Giorgos is the founding editor of Approaches: An Interdisciplinary Journal of Music Therapy, and in 2022 he co-chaired the 12th European Music Therapy Conference. He currently serves as Senior Lecturer in Music Therapy at Queen Margaret University and the Arts Lead at St Columba's Hospice Care, Edinburgh, Scotland. References: Bucar, L. (2022). Stealing my religion: Not just any cultural appropriation. Harvard University Press. MacKian, S. (2012). Everyday spirituality: Social and spatial worlds of enchantment. Palgrave Macmillan. Tsiris, G. (2017). Music therapy and spirituality: An international survey of music therapists' perceptions. Nordic Journal of Music Therapy, 26(4), 293-319. Tsiris, G. (2018). Performing spirituality in music therapy: Towards action, context and the everyday (Doctoral dissertation, Goldsmiths, University of London). https://research.gold.ac.uk/id/eprint/23037/ Tsiris, G. (2021). Tracing spirituality in everyday music therapy contexts: Methodological reflections. In K. Hendricks & J. Boyce-Tillman & (Eds.), Authentic connection: Music, spirituality and wellbeing (Chapter 10). Peter Lang. Tsiris, G., & Ansdell, G. (2019). Exploring the spiritual in music. Approaches: An Interdisciplinary Journal of Music Therapy, 11(1), 3-8. https://approaches.gr/tsiris-e20191124/
Episode 72 is Luke's interview with Dr Dwight Turner. They spoke in December 2022, in person, about psychotherapy and music therapy, intersectionality, music, exotification, Our Price Records, and a dream involving John Lennon and David Bowie's ‘Life on Mars'. Dr Dwight Turner is Course Leader on the Humanistic Counselling and Psychotherapy Course at the University of Brighton, a PhD Supervisor at their Doctoral College, a psychotherapist and supervisor in private practice. His latest book Intersections of Privilege and Otherness in Counselling and Psychotherapy was released in February 2021 and is published by Routledge. An activist, writer and public speaker on issues of race, difference and intersectionality in counselling and psychotherapy, Dr Turner can be contacted via his website http://dwightturnercounselling.co.uk, where you can also find his blog, and he can be followed on Twitter at @dturner300 The blog post discussed at the beginning of the interview is here. References Czyzselska, J. (2022) Queering Psychotherapy. Karnac. Fanon, F. (2008). Black skin, white masks. Grove press. Turner, D. (2021). Intersections of privilege and otherness in counselling and psychotherapy: Mockingbird. Routledge.
In episode 71, Davina Vencatasamy talks to Denise Wong. Originally from Hong Kong, Denise Wong MA BSc, is a self-employed music therapist (HCPC-Registered) based in Bristol, UK. She works with the Bath Aphasia Choir (Stroke Association), Soundwell and NEHK, a community-led group for and by HongKongers living in the UK. Denise appeared on the BAMT Racial Awareness Panel and took part in presentations and roundtables at the 2022 European Conference in Edinburgh. This interview covers intersectional experiences of racial stereotyping, sexism, ageism and ableism, including the word ‘yellow' as a racial descriptor', and what it feels like to be a therapist from a minority racial and cultural background, both when working with clients, and within teams of professionals. Denise Wong (denisewongmusictherapy.co.uk)
Episode 70 is the fourth and final dispatch from the EMTC conference at Queen Margaret University, Edinburgh, June 2022 (see also episodes 63, 65 and 68). Luke had the opportunity to speak to a genuine music therapy pioneer in the person of Inge Nygaard Pedersen. Inge Nygaard Pedersen is an Associate Professor, Emerita, PhD, Aalborg University, Denmark. She is the founder of the Aalborg Music Therapy Training Program and the Head of the Music Therapy Research Clinic at Aalborg University Hospital, Psychiatry 1995-2021. Her research areas include psychodynamic music therapy and psychiatry, supervision, and experiential/resonant learning processes for music therapy students (438 publications). For publications see https://vbn.aau.dk/da/publications/?search=Inge+Nygaard+Pedersen&originalSearch=Inge+Nygaard+Pedersen&pageSize=50&ordering=rating&descending=true&showAdvanced=false&allConcepts=true&inferConcepts=true&searchBy=PartOfNameOrTitle References Jacobsen, SL., Pedersen, IN & Bonde, LO (2019) A Comprehensive Guide to Music Therapy. Second Edition. Jessica Kingsley Publishers. Pedersen, INP., Lindvang, C & Beck, BD (2022) Resonant Learning in Music Therapy. A Training Model to Tune the Therapist. Jessica Kingsley Publishers. Pedersen, IN., Bonde, LO., Hannibal, N., Nielsen, J., Aagaard, J., Gold, C., Bertelsen, LR., Jensen, SB. & Nielsen, RE. (2021) Music Therapy vs. Music Listening for Negative Symptoms in Schizophrenia: Randomized, Controlled, Assessor- and Patient-Blinded Trial. Frontiers in Psychiatry. Sec Psychiatry. 12, 738810 https://doi.org/10.3389/fpsyt.2021.738810
Davina Vencatasamy spoke to Revd Jide Macaulay about LGBTQ+, racial and intersectional issues in psychotherapy, music therapy, and society. Reverend Jide Macaulay (he/him/momma) is the Founder and CEO of House of Rainbow CIC. Openly gay British Nigerian born in London, he has been a Christian minister since 1998. He is an Anglican Priest and inspirational speaker, author, poet, pastor and preacher and an HIV Positive activist. Jide holds a degree in Law, master's degree in Theology and Post-graduate certificate in Pastoral Theology. Revd Jide Macaulay focuses his ministry on inclusion and reconciliation of sexuality, spirituality, and human rights. He is also a former Board of Trustee at Kaleidoscope Trust UK. Currently Jide is a Chairperson at INERELA+ Europe, an international network of religious leaders, living with, or personally affected by HIV. Jide is a Patron at ReportOUT, Vice Chair One Voice Network, HIV mentor at Positive East, Nominee British LGBT Award 2021 - Top 10 Outstanding Contribution to LGBT+ Life, nOSCARS Award winner 2014, 2017, 2018, Volunteer Chaplain at Mildmay HIV Hospital and Volunteer Champion at Africa Children's Charity. "I will like see more unity and love within the LGBTIQ+ community, we must recognise that we are strengthened when we stand together against the sequence of hatred in this world, by doing so we make a difference across oceans and the sky is the limit for our desired change in this world." https://londonfriend.org.uk/50LGBTQLondoners/revd-jide-macaulay/
“We're doing music therapy because of people's humanity, not because of what people lack” Luke spoke to Hakeem Leonard at the EMTC conference, Queen Margaret University, Edinburgh, in June 2022. Hakeem Leonard is an Associate Professor of Music Therapy and the Assistant Provost for Inclusion, Diversity, and Equity at Shenandoah University in Winchester, Virginia (United States). In his music therapy role, he has taught a range of courses, but most enjoys his social justice in music/arts and psychology of music courses, where the nexus of his current research focus lies in developing a desire-based, lifespan developmental framework to shape education, training, and personhood in and beyond music therapy. His published scholarship includes rehabilitation work as well as work rooted in anti-racist and culturally sustaining perspectives. Those include the article “The Problematic Conflation of Justice and Equality: The Case for Equity in Music Therapy” and his most recent co-authored chapter in the new Colonialism and Music Therapy text. He has a passion for walking alongside students in their developmental growth process as culturally reflexive, confident, whole persons, with excellent music therapy knowledge and skills. He likes to stay grounded through various practices of listening and to experience joy through rest, creating things, and vibing with experiences and people. He is invested in conversations of anti-colonial and anti-oppressive practice from a place of intuition, desire, sustenance, love, wholeness, and relationship. He is active on Instagram (@musicallman) where he shares about life, music therapy, and inclusion. References Devlin, K. (2018). How do I see you, and what does that mean for us? An autoethnographic study. Music Therapy Perspectives, 36(2), 234-242. Dissanayake, E. (1993). Homo aestheticus: Where art comes from and why. University of Washington Press. Du Bois, W. E. B. (1903). The souls of black folk. Chicago: McClurg. Fisher, C. & Leonard, H. (2022). Unsettling the classroom and the session: Anticolonial framing for Hip hop music therapy education and clinical work. In CAMTI Collective, Colonialism and music therapy (p. 305-334). Barcelona Publishers. Kenny, C. (2014, March). The field of play: An ecology of being in music therapy. In Voices: A World Forum for Music Therapy, 14(1). The Colonialism, & Music Therapy Interlocutor's (CAMTI) Collective. (2022). Colonialism and Music Therapy. Barcelona Publishers. Trondalen, G. (2016). Relational music therapy: An intersubjective perspective. Barcelona Publishers. Persons Referenced Clifford K. Madsen http://www.cliffordmadsen.com Jayne Standley https://music.fsu.edu/person/jayne-standley/ Tom Sweitzer http://www.aplacetobeva.org/a-place-to-be-staff
Davina Vencatasamy speaks to Penny Rogers, with a focus on safeguarding issues in music therapy. Penny Rogers studied cello with Bernard Gregor-Smith (Lindsay Strong Quartet) in Manchester before going on to complete a postgraduate diploma in Music Therapy at the Guildhall. As a therapist, she found the majority of individuals referred went on to disclose histories of child abuse and so her passion for safeguarding began. Since that time Penny has completed a variety of further trainings including Masters in Cognitive Neuropsychology, Child Protection & Working with Families, and Systemic Psychotherapy. She was research fellow in MT at City University exploring the impact of music therapy on children and young people with histories of sexual abuse - resulting in a number of articles and chapters in books and lecturing opportunities in places as diverse as UK, Estonia, Vittoria, Philadelphia. Penny also has a PGDip in Mental Health Law and today works as a Deputy Director for Devon Partnership Trust with a portfolio including all aspects of safeguarding, mental health law and legislation. She continues to play the cello almost every day, and is a member of a number of local orchestras in Devon and a dedicated quartet enthusiast. Penny believes that safeguarding training is essential for all those working with children & adults. References Rogers, P. (1992). Issues in working with sexually abused clients in music therapy. Journal of British Music Therapy, 6(2), 5-15. Rogers, P. (2000). Truth or illusion: evidence-based practice in the real world. Music therapy research: Growing perspectives in theory and practice, 1. Rogers, P. (2003). Working with Jenny: Stories of gender, power and abuse. Psychodynamic music therapy: Case studies, 123-140.
Victoria Clarke is an Associate Professor in Qualitative and Critical Psychology at the University of the West of England (UWE), Bristol, UK, where she teaches about qualitative research methods and supervises student research on various postgraduate programmes. Her research interests lie in the intersecting areas of gender and sexuality, and difference and social justice. With Virginia Braun, she has developed a widely used approach to thematic analysis, now called reflexive thematic analysis (see thematicanalysis.net), and has written extensively about this, including most recently the book Thematic Analysis: A Practical Guide (SAGE, 2022). They have also co-authored an award-winning textbook on qualitative research: Successful Qualitative Research: A Practical Guide for Beginners (SAGE, 2013) and with Debra Gray co-edited Collecting Qualitative Data: A Practical Guide to Textual, Media and Virtual Techniques (Cambridge, 2017). With Virginia and others, Victoria has also written about the novel creative method of story completion (see storycompletion.net). She is active on Twitter – mainly tweeting about thematic analysis and qualitative research @drvicclarke. References Azoulay, P., Fons-Rosen, C., & Graff Zivin, J. S. (2019). Does science advance one funeral at a time? American Economic Review, 109(8), 2889-2920. Goffman, E. (1955). On face-work: An analysis of ritual elements in social interaction. Psychiatry, 18(3), 213-231. https://www.tandfonline.com/doi/abs/10.1080/00332747.1955.11023008 Scully, D. (2013). Understanding sexual violence: A study of convicted rapists. Routledge. Willcox, R., Moller, N., & Clarke, V. (2019). Exploring attachment incoherence in bereaved families' therapy narratives: An attachment theory-informed thematic analysis. The Family Journal, 27(3), 339-347.
The interviews in this episode were recorded at the conference of the European Music Therapy Confederation at Queen Margaret University, Edinburgh in June 2022. Tilly Mütter is a student on the MSc Music Therapy Course at QMU. She completed her degree in music at Canterbury, where she first became aware of music therapy. After graduating, Tilly became the Music Lead at The Sunflower Federation Schools in Hertfordshire, for students with additional needs and profound multiple learning disabilities. This role inspired her to study music therapy. This episode was edited by Tilly from conversations with twenty-one music therapy students across Europe, sharing their journeys. She asked each person four questions: 1. Please introduce yourself: what course are you on? 2. What have you found challenging and rewarding about your course so far? 3. What have you enjoyed about the EMTC conference? 4. What advice would you give to someone wanting to study music therapy? She spoke to Folke Wiemann, Marie Winneke. Laura O'Neill, Harry Harris, Clare Woodham, Lona Frießner, Hannah Quigley, Dorothy Ogilvy, Megan Thomas, Lisa Johnston, Kelly Nga-Ying Luk, Erin McGonigle, Karen Biørnskov Christensen, Phoebe Janisch , Alice Paine, Emma Keeling , Hiu Tung Yan, Tao-Deva Stingl, Susanne Gruss, Calum Frame and Alphonso Archer.
Jazz pianist, composer and educator, Simon Purcell came to prominence during the UK jazz boom of the 1980s. After working in East London schools, as a passionate music educator and thinker, Simon has been active in the conservatoire sector since 1985, first as a senior lecturer at GSMD between 1987-2005, Head of Jazz at Trinity Laban Conservatoire of Dance and Music between 2005-2017 and returning to GSMD as International Chair in Improvisation in 2018. He has contributed to the development of jazz education in the UK for many years and in 2006 was awarded Jazz Educator of the Year by the All Party Parliamentary Jazz Appreciation Group. Simon was a member of the Working Group for the Pop and Jazz Platform within the Association of European Conservatoires (2009-2018) and his research into teacher-development in jazz education was published by Ashgate in 2005. His work in jazz education has taken him to Brazil, China, New Zealand and many parts of Europe and current research interests are: teacher-education in jazz, jazz within wider music education and neurologically informed pedagogy. For more information see https://simonpurcell.com/about Luke spoke with Simon in March 2022. Taking face to face in an actual room, they discussed improvisation and how to teach it, comparing perspectives in music therapy and jazz education. How is music experienced? What are the best ways to understand it? And how would you go about teaching improvisation badly? References Green, B., & Gallwey, W. T. (1987). The inner game of music. Pan Macmillan. Helding, L. (2020). The musician's mind: Teaching, learning, and performance in the age of brain science. Rowman & Littlefield Publishers. McCrary, J. M., Altenmüller, E., Kretschmer, C., & Scholz, D. S. (2022). Association of Music Interventions With Health-Related Quality of Life. JAMA, (3) Paton, R. (2011) Lifemusic: Connecting People to Time. Archive Publishing. Werner, K., & Aebersold, J. (1996). Effortless mastery. New Albany, IN: Jamey Aebersold Jazz.
Karan Casey Does Singing Songs Make a Difference? This episode is a recording of Karan Casey's keynote presentation at the close of the conference of the European Music Therapy Confederation in Edinburgh, 8-12 June 2022. Karan talked about songs and social justice, arts practice research, and about her own life and experiences as a performer and campaigner on social issues. She performed a number of songs as part of the presentation, and then had a conversation with Luke Annesley to explore these issues further. It was an inspiring ending to a varied and exciting conference. About Karan: Singing songs charged with a sense of social responsibility in a career spanning over 25 years Karan Casey has released eleven albums as well as contributing to numerous other artists' projects – appearing on more than 50 albums in total. She has toured extensively throughout North America, Europe and Japan, performing with her own band as well as collaborating with such diverse musicians as Maura O'Connell, James Taylor, Bela Fleck, Boston Pops Orchestra, Kate Ellis, Niall Vallely, Pauline Scanlon, The Chieftains, The Dubliners, Peggy Seeger, Karen Matheson, Mick Flannery, Mícheál Ó Súilleabháin, Tim O'Brien, Solas and Lúnasa. In 2018 Karan helped found FairPlé which is an organization aimed at achieving fairness and gender balance for female performers in Irish traditional and folk musics. Karan tours with her band Niamh Dunne, Sean Óg Graham and Niall Vallely. Karan's most recent album Hieroglyphs That Tell the Tale was released on the Vertical Records Label. Her song “Down in the Glen” was nominated for Best Original Folk Song at the RTE Folk Awards 2019 and she completed a PhD in music in 2019. Karan has recently performed her new show with Director Sophie Motley called I Walked into My Head which was premiered at the Kilkenny Arts Festival 2021. Karan is currently working on a new stage show to be produced at the Everyman Theatre in Cork in early 2023 as well as an album of new songs about women in the Irish revolutionary period. Please note: As we are awaiting permission to include the performance of 'The King's Shilling' in this episode, here is a YouTube link to Karan's studio version of the song. Reviews of Karan's music: "Karan Casey's latest album is revelatory. She's always been a singer of songs that tell a story and show their muscle…This is a strikingly three-dimensional work that stands the test of intensive and repeated listening with ease. A vivid and dazzling snapshot of Casey invincible, at the height of her powers.” Siobhán Long, Irish Times “Casey's voice is among the loveliest in folk music and she's a wonderful interpreter of both contemporary and traditional material.” BOSTON GLOBE “Karan Casey's latest solo venture is a thing of rare beauty.” SING OUT "The most soulful singer to emerge in Irish traditional music in the past decade." THE GLASGOW HERALD “If ever any doubt existed about who's the best Irish traditional woman singer today, "Exiles Return" sweeps aside all pretenders…Karan Casey has no vocal peer.” IRISH ECHO Songs Siúil a Rúin (trad.) The King's Shilling (Ian Sinclair) Rocks of Bawn (trad.) Ballad of Accounting (Ewen MacColl) I'm Still Standing Here (Janis Ian) Hear How the Music it Heals (trad.) Bog Braon (trad.) Other links and references: Casey, K. (2017, September). Singing my way to Social Justice. In Voices: A World Forum for Music Therapy (Vol. 17, No. 3). Davis, A. Y. (2011). Blues Legacies and Black Feminism: Gertrude Ma Rainey, Bessie Smith, and Billie Holiday. Vintage. www.karancasey.com info@karancasey.com Lyrics Siúil a Rúin I wish I was on yonder hill 'Tis there I would sit and cry my fill Until every tear it would turn a mill Is go dté tú mo mhúirnín slán I would sell my rock, I would sell my reel I would sell my only spinning wheel For to buy my love a sword of steel Is go dté tú mo mhúirnín slán Siúil, siúil, siúil a rúin Siúil go sochair agus siúil go ciúin Siúil go doras agus éalaigh liom Is go dté tú mo mhúirnín slán And now my love he has gone to France To try his fortune to advance And if he returns, 'tis but a chance Is go dté tú mo mhúirnín slán Siúil, siúil, siúil a rúin Siúil go sochair agus siúil go ciúin Siúil go doras agus éalaigh liom Is go dté tú mo mhúirnín slán I wish, I wish, I wish in vain I wish I had my heart again And it's vainly I think that I would not complain Is go dté tú mo mhúirnín slán The King's Shilling Oh my love has left me with bairnes twa And that's the last of him I ever saw He's joined the army and marched to war He took the shilling He took the shilling and he's off to war Come laddies come, hear the cannons roar Take the King's shilling and you're off to war Well did he look as he marched along With his kilt and sporran and his musket gun And the ladies tipped him as he marched along He sailed out by He sailed out by the Broomielaw The pipes did play as he marched along And the soldiers sang out a battle song March on, march on, cried the Captain gay And for King and country For King and country we will fight today Come laddies come, hear the cannons roar Take the King's shilling and we're off to war The battle rattled to the sound of guns And the bayonets flashed in the morning sun The drums did beat and the cannons roared And the shilling didn't seem Oh the shilling didn't seem much worth the war Come laddies come, hear the cannons roar Take the King's shilling and we're off to war Well the men they fought and the men did fall Cut down by bayonets and musket ball And many of these brave young men Would never fight for Would never fight for the King again Come laddies come, hear the cannons roar Take the King's shilling and we're off to war Come laddies come, hear the cannons roar Take the King's shilling and you'll die in war Rocks of Bawn Come all ye loyal heroes wherever you may be. Don't hire with any master till you know what your work will be You will rise up early from the clear day light till the dawn and you never will be able for to plough the Rocks of Bawn. Rise up, gallant Sweeney, and give your horse some hay And give them a good feed of oats before they stray away Don't feed them on soft turnip put them out on your green lawn Or they never will be able for to plough the Rocks of Bawn. My curse upon you, Sweeney boy, you have me nearly robbed You're sitting by the fireside with your dúidín in your gob You're sitting by the fireside now from clear daylight till the dawn And you never will be able for to plough the Rocks of Bawn My shoes they are worn and my stockings they are thin My heart is always trembling for fear they might give in My heart is always trembling from the clear daylight till the dawn And I never will be able for to plough the Rocks of Bawn. I wish the Queen of England she would call for me in time And place me in some regiment all in my youth and prime I'd fight for Ireland's glory from the clear daylight till dawn And I never would return again to plough the Rocks of Bawn. Ballad of Accounting In the morning we built the city In the afternoon walked through its streets Evening saw us leaving We wandered through our days as if they would never e All of us imagined we had endless time to spend We hardly saw the crossroads And small attention gave To landmarks on the journey from the cradle to the grave, cradle to the grave, cradle to the grave Did you learn to dream in the morning? Abandon dreams in the afternoon? Wait without hope in the evening? Did you stand there in the traces and let them feed you lies? Did you trail along behind them wearing blinkers on your eyes? Did you kiss the foot that kicked you? Did you thank them for their scorn? Did you ask for their forgiveness for the act of being born, act of being born, act of being born? Did you alter the face of the city? Did you make any change in the world you found? Or did you observe all the warnings? Did you read the trespass notices did you keep off the grass? Did you shuffle off the pavement just to let your betters pass? Did you learn to keep your mouth shut, Were you seen and never heard? Did you learn to be obedient and jump to at a word, jump to at a word, jump to at a word? Did you ever demand any answers? The who, the what or the reason why? Did you ever question the setup? Did you stand aside and let them choose while you took second best? Did you let them skim the cream off and then give to you the rest? Did you settle for the shoddy? Did you think it right To let them rob you right and left and never make a fight, never make a fight, never make a fight? What did you learn in the morning? How much did you know in the afternoon? Were you content in the evening? Did they teach you how to question when you were at the school? Did the factory help you grow, were you the maker or the tool? Did the place where you were living Enrich your life and then Did you reach some understanding of all your fellow men, all your fellow men, all your fellow men? I'm Still Standing Here See these lines upon my face They're a map of where I've been In the deep they are traced a deeper life has settled in How do we survive living out our lives I wouldn't trade a line make it smooth or fine Or pretend that time stands still I want to rest my soul here where it can grow without fear Another line another year I'm still standing here See these marks upon my skin They're the lyric of my life Every story that begins Means another ends in sight Only lover's understand Skin just covers who I am I wouldn't trade a line make it smooth or fine Or pretend that time stands still I want to rest my soul here where it can grow without fear Another line another year I'm still standing here See these bruises see these scars Hieroglyphs that tell the tale You can read them in the dark Through your fingertips like braille I wouldn't trade a line make it smooth or fine Or pretend that time stands still I want to rest my soul here where it can grow without fear Another line another year I'm still standing here
Davina Vencatasamy talks to Lesley Schatzberger. Lesley is the founder of the charity Jessie's fund. Jessie's Fund was established as a registered charity in 1995 and helps children with serious illness, complex needs, and communication difficulties through the therapeutic use of music. Music can provide a powerful and profound way in which children can express themselves and connect with the world around them. Lesley's experience when her daughter Jessie was in a children's hospice made her aware of how many children struggle to communicate: it was clear to her how music could help these children. As a clarinettist Lesley has worked in a range of music-making – from working with Stockhausen to touring extensively with orchestras such as the English Baroque Soloists and the Academy of Ancient Music. She teaches at the University of York: in 2006 that institution awarded her an honorary doctorate. https://jessiesfund.org.uk/
Seb is a detective constable with Surrey Police, working in their public protection unit investigating serious crime against the most vulnerable in our society. His Policing career started in the Met Police where, after 2 years as a volunteer Police Officer or ‘Special', he caught the Policing bug and joined ‘the job' full time in 2011. He chose Hounslow as the place to get experience and spent two years as a uniform constable answering 999 calls there. He also had the pleasure of seeing the sights of London from a different perspective as a public order officer. Being an avid fan of ‘The Sweeney' he always knew he was destined to be a detective. After a stint working on a new initiative to better deal with foreign national offenders and a few months as a street duties instructor and acting Sergeant, Seb applied for CID. He attended Scotland Yard's world-famous Crime Academy, becoming a substantive detective in 2017. A country boy at heart, the rolling hills of Surrey were too beautiful to resist so he transferred to Surrey Police soon after and choose to work in the safeguarding unit, training to be a specialist accredited child abuse investigator. The son of a GP (who was also an artist) and a music teacher, he was born and raised in Bristol where he enjoyed a house full of music. His mother would teach piano at home and he would spend hours listening to Beethoven and Bach from his dad's record collection. There is photographic evidence of him conducting Beethoven's Fifth Symphony in the lounge in his pyjamas at age 8, but that is locked away securely! He attended King Edward's School, Bath, where he joined the choir and sang many services in the awesome Bath Abbey. He also played the violin and was a member of multiple music groups including a medieval group where he played medieval fiddle and Psaltery (Google it). He took part in chamber concerts in the Holbourne Museum, Bath, which houses a Steinway Piano Rachmaninov chose to play when he came to the city. Following a brief episode where he applied to study Physics at University and join the RAF as a pilot, he came to his senses at the last minute and auditioned for the Royal College of Music as a singer. He studied there for 5 years between 2000 and 2005, gaining a Bachelor of Music degree in vocal performance. Seb then spent the next few years trying to make a living as a musician and having a lot of fun in the process, working for Opera companies all over the UK and touring the USA for 3 months with the Carl Rosa Opera Company. he hasn't sung a wide range of roles from Pantomime and Gilbert and Sullivan to Mozart and Verdi. Seb talked about his work with Blue Light Symphony Orchestra, and about an innovative recent reject with Chroma and music therapist Amanda Thorpe, working with emergency services professionals. https://www.bluelightsymphony.org/ https://youtu.be/lzgDtzKKETg References Kahneman, D. (2017) Thinking, fast and slow. Penguin Books. Rosenberg, M. B., & Chopra, D. (2015). Nonviolent communication: A language of life: Life-changing tools for healthy relationships. PuddleDancer Press.
In episode 60, Davina Vencatasamy talks to Helen Minors. Helen Julia Minors is School Head of Performing Arts and Associate Professor of Music at Kingston University, London. She is also a Visiting Professor in Artistic Research at Luleå University of Technology, Sweden. She has published books: Music, Text and Translation (2013); Building Intercultural and Interdisciplinary Bridges: Where Theory Meets Research and Practice, co-edited with Pamela Burnard, Valerie Ross, Kimberly Powell, Tatjana Dragovic and Elizabeth Mackinlay (2016); Paul Dukas: Legacies of a French Musician, co-edited with Laura Watson (2019); Artistic Research in Performance Through Collaboration, co-written/co-edited with Martin Blain (2020); Music, Dance and Translation (forthcoming); and The Routledge Companion to Women and Musical Leadership: the nineteenth century and beyond, co-edited with Laura Hamer (forthcoming). Recent articles have appeared in London Review of Education (2017, 2019) and recent book chapters in Translating Opera: Eastern and Western Perspectives (2019), Translation and Multimodality: Beyond Words (2019), Tibon (2021). Helen is also the founder and co-chair of EDI Music Studies Network, https://www.edimusicstudies.com/ and former chair of MusicHE https://musiche.ac.uk/. From January 2022 she will be co-investigator of Women's Musical Leadership Online Network, funded by the Arts and Humanities Research Council https://gtr.ukri.org/projects?ref=AH%2FW000369%2F1. https://www.helenjuliaminors.com/about
Kiz Bangerh (now Manley) is the founder of Hip Hop Heals. Here's how she describes herself on her website: "I lost my older sister, Promila, in a car accident in 2000. After, I suffered a delayed traumatised grief reaction. I was an English Literature graduate and keen writer but experienced a creative block that lasted ten years. During this time, I trained as a secondary English teacher, and enjoyed a fruitful career in museum and gallery education. When my father died in 2010, I was in recovery from a delayed traumatised grief reaction and a breakdown. This is when I discovered therapeutic writing. My writer's block came undone. I already had an MA in Literature and decided to do an MSc in Creative Writing for Therapeutic Purposes to share what I'd learnt about self-healing through creativity. I set up Hip Hop HEALS, a mental health project that tackles mental health inequalities in disadvantaged groups, particularly BAME groups, young people and men. We deliver poetry therapy-style workshops in schools, probation centres, mental health units and homeless hostels. I am also now Director of Story with Lapidus International and Communications Director for its academic research journal, LIRIC, as well as Lived Experience Champion for LENS Network (Lived Experience Network). Outside of work, I run Dubgasm: a social action fundraiser for Brum's foodbank and homeless communities. I still love teaching and tutor Looked After Children in my spare time. Recently, I was selected for Lloyd's Bank's School for Social Entrepreneurs to develop Hip Hop HEALS into a social enterprise business with a grant of £1000. Through this, I've been developing mental health resources using Hip Hop's central tenet: ‘Knowledge of Self'. My goal is to spread knowledge and research about the therapeutic power of Hip Hop culture. My thesis on this topic applied narrative and poetic inquiry to interpret MC interviews (available on request: hiphophealsuk@gmail.com)" Kiz spoke in detail about these experiences. This includes some graphic description of her sister's car crash - so be aware of this particularly towards the later part of the interview (1:00:13-1:01:37). She talks about her PTSD and how her creative process has helped her to integrate traumatic memories. Resources: Hip Hop Heals website home page: https://www.hiphophealsuk.org/ Glowitheflow Podcast: hiphophealsuk.org/podcast Trauma Research Foundation (includes videos on Hip Hop Therapy): Trauma Research Foundation - YouTube Feeling the Beat: TRF Tuesday Therapeutic Applications of Hip Hop Workshop Series Week 1 - YouTube References: Afonu, D. (2015). Hip-Hop As Community Psychology?: A Participatory Research Project with Adolescent Co-Researchers (Doctoral dissertation, University of East London). Allen, T. N., & Randolph, A. (2020). Listening for the Interior in Hip-hop and R&B Music. Sociology of Race and Ethnicity, 6(1), 46-60. Kirkland, K., & King, S. (2019). Rap and recovery: A music therapy process-oriented intervention for adults with concurrent disorders. www. approaches. gr ISSN 2459-3338, 70. Levy, I. P. (2019). Hip-hop and spoken word therapy in urban school counseling. Professional School Counseling, 22(1b), 2156759X19834436. Travis, R., Gann, E., Crooke, A. H., & Jenkins, S. M. (2019). Hip Hop, empowerment, and therapeutic beat-making: Potential solutions for summer learning loss, depression, and anxiety in youth. Journal of Human Behavior in the Social Environment, 29(6), 744-765.
Davina Vencatasamy spoke to Sandra Schembri, the CEO of Nordoff Robbins, UK, continuing her sequence of interviews exploring diversity, race and representation in music therapy. Sandra describes herself as follows: "Over the course of my 26+ year career so far I have had the pleasure of working with some amazing organisations including Bloomberg, The Royal Academy of Arts, Ronnie Scott's Jazz Club and The House of St Barnabas, supporting further social change in the areas of music, culture, homelessness and employment. I am a "People 1st" leader and believe very deeply that "culture eats strategy for breakfast". I currently have the privilege of leading Nordoff Robbins Music Therapy UK where my music studies are being put to good use (singer, cello, clarinet). I am a proud mother of a 6-year-old force of nature and big on family, dogs, sci-fi, trees and food. There is nothing that cannot start to be solved with the help of a cup of tea with a biscuit."
Nsamu is a music therapist and psychotherapist born and raised in Zambia. Nsamu earned a BA in Psychological Counselling from the University of South Africa and MMus in Music Therapy from the University of Pretoria. A therapist grounded in holistic anti-oppressive practice, Nsamu works with people exploring health and lifestyle choices, medical complications, human sexualities and gender, spiritualities and religious experiences, psychosocial support, and learning enhancement. His music therapy experience spans health, medical, and school settings, and centres human development programming, design and facilitation, community infrastructure and social development, cross-cultural living and working. Nsamu is a classically trained singer and enjoys dancing. His interests include lifelong development, learning, and critical theory-informed research. He enjoys long-distance running and writing mystical poetry. He is a foodie, enjoys mentoring youth, and loves being an uncle. Nsamu is affiliated with the Health Profession Council of South Africa, South African Music Therapy Association, South African National Art Therapy Association, and the Institute for Creative Conversations. Nsamu talked about the batonga tradition in Zambia, and how he perceives music therapy in the light of his studies and experiences. Anti-oppressive practice in music therapy is explored, along with therapeutic stance, and the episode includes a bonus section after the 'official' ending. References: Baines, S. (2013). Music therapy as an anti-oppressive practice. The Arts in Psychotherapy, 40(1), 1-5. Moonga, N. U. (2019). Exploring music therapy in the life of the batonga of Mazabuka Southern Zambia (Doctoral dissertation, University of Pretoria). Nsamu also referred to the work of Henri Nouwen Luke's blogpost about the Gnawa is here. A blog about Maslow and the Blackfoot people is here.
Wendy Magee has a background in practice and scholarship concerning music interventions for brain injury rehabilitation. She moved to Philadelphia in 2011, a city with the fourth largest African American population and the highest rate of deep poverty in the US. Navigating the evident inequities for marginalized people in her new home city has offered her opportunities to learn about social justice, albeit from a position of privilege. She describes herself as being at the start of a long journey of learning how to challenge the existing systems that maintain dominant narratives and ensure social inequities, of how to practice allyship, and of learning how to put well-meaning thoughts into action, saying that there is much to learn. In this episode, Wendy follows on from her seminal keynote lecture at the most recent BAMT conference, highlighting issues of race, equality and privilege with Davina. She talks about personal and painful experiences which highlighted for her, how privilege can be present in everyday life and do its damage without being necessarily aware. She starts to explore issues of white supremacy to unpack that emotive term and think about how it is applied to music therapy.
Luke talked to Barbara Wheeler about her wide ranging experience in music therapy as a researcher, clinician, educator, and author. Barbara L. Wheeler, PhD, MT-BC, holds the designation of Professor Emeritus from Montclair State University, where she taught from 1975-2000. She initiated the music therapy program at the University of Louisville in 2000, retiring in 2011. She presents and teaches in the U.S. and internationally. She has a current faculty appointment at the Karol Szymanowski Academy of Music, Katowice, Poland. She has been an active clinician throughout her career and worked with a variety of clientele. Barbara edited Music Therapy Handbook (2015); Music Therapy Research: Quantitative and Qualitative Perspectives (1995); Music Therapy Research (2nd Edition, 2005); is one of the editors of Music Therapy Research (3rd Edition; 2016); and is coauthor of Clinical Training Guide for the Student Music Therapist (1st edition, 2005; 2nd edition, 2017). She is also the author of numerous other articles and chapters. She is a past president of the American Music Therapy Association and was Interview Co-Editor for Voices: A World Forum for Music Therapy. Barbara received a Lifetime Achievement Award from the World Federation of Music Therapy in 2017 and a Lifetime Achievement Award from the American Music Therapy Association in 2019. In this interview they cover a wide range of topics, among them the issue of the importance of randomised control trials in building the evidence base for music therapy. the resources below include reference to several of these, as well as other articles referred to in this discussion. The first two are examples of relatively small RCTs, done by a single investigator or team, in one setting. There are many examples of this type of RCT. Ghetti, C. M. (2013). Effect of music therapy with emotional-approach coping on preprocedural anxiety in cardiac catheterization: A randomized controlled trial. Journal of Music Therapy, 50(2), 93-122. Chlan, L., Weinert, C., Heiderscheit, A., Tracy, M. F., Skaar, D., Guttormson, J., & Savik, K. (2013). Effects of patient directed music intervention on anxiety and sedative exposure in critically ill patients receiving mechanical ventilatory support. JAMA: Journal of the American Medical Association, 309(22), 2335-2344. doi:10.1001/jama.2013.5670 The next two are multi-site RCTs. Robb, S. L., Burns, D. S., Stegenga, K. A., Haut, P. R., Monahan, P. O., Meza, J., ... & Haase, J. E. (2014). Randomized clinical trial of therapeutic music video intervention for resilience outcomes in adolescents/young adults undergoing hematopoietic stem cell transplant: a report from the Children's Oncology Group. Cancer, 120(6), 909-917. Robb, S. L., Burns, D. S., Stegenga, K. A., Haut, P. R., Monahan, P. O., Meza, J., …Haase, J. E. (2014). Randomized clinical trial of therapeutic music video intervention for resilience outcomes in adolescents/young adults undergoing hematopoietic stem cell transplant: A report from the Children's Oncology Group. Cancer, 120, 909–917. doi:10.1002/cncr.28355 The final two are Protocols for RCTs. These are large, multi-site studies, not yet completed. Ghetti, C., Bieleninik, Ł., Hysing, M., Kvestad, I., Assmus, J., Romeo, R., ... & Gold, C. (2019). Longitudinal Study of music Therapy's Effectiveness for Premature infants and their caregivers (LongSTEP): protocol for an international randomised trial. BMJ open, 9(8), e025062. Baker, F. A., Bloska, J., Braat, S., Bukowska, A., Clark, I., Hsu, M. H., ... & Odell-Miller, H. (2019). HOMESIDE: home-based family caregiver-delivered music and reading interventions for people living with dementia: protocol of a randomised controlled trial. BMJ open, 9(11), e031332.Felicity Anne Baker Additional references Wheeler, B. L., & Baker, F. A. (2010). Influences of music therapists' worldviews on work in different countries. The Arts in Psychotherapy, 37(3), 215-227. https://voices.no/community/index.html?q=fortnightly-columns%252F2001-various-problems-language-and-terminology
In Episode 54, Davina Wilson talks to Michaela de Cruz. Michaela qualified in 2019 and is relatively new to music therapy but is not new to music activism. Over her 20 years as a jazz and soul performer, musician and songwriter, she has championed and contributed to causes as varied as racial awareness, gender and sexual equality and animal rights. As an activist in the music therapy scene, Michaela was on the panel for the first ever BAMT racial awareness event, which was a seminal effort for music therapy in the UK. In this podcast, Michaela speaks with her panel member Davina about the events which led to her putting her passion behind the fight for racial equality and equity in the music therapy space for both therapists and their clients, why she believes there can be no more excuses for ignorance of racial issues and discrimination in the community, as well as what she hopes to see in the future for music therapy training and practice across the UK. Michaela works primarily in adult mental health and runs her own private practice MdC Music Therapy. She will be presenting a roundtable discussion together with the BAMT racial awareness panel members at the upcoming European Music Therapy Conference in 2022. MdC Music Therapy - www.mdcmusictherapy.com Michaela Therese music - https://soundcloud.com/michaelatheresemusic/tracks Resource Books: Turner, D. (2021). Intersections of Privilege and Otherness in Counselling and Psychotherapy: Mockingbird. Routledge Keval, N. (2016). Racist States of Mind: Understanding the Perversion of Curiosity and Concern. Routledge. Shukla, N. (2017). The Good Immigrant. Unbound.
Episode 53 features Francis Myerscough, who was part of the panel discussion on diversity chaired by Wendy Magee at the 2021 BAMT conference. Francis Myerscough qualified as a music therapist from the University of South Wales in 2018. They work in a number of different settings, with a background in adoption support and more recently in a local children's services harmful sexual behaviour team. Other roles have included supporting LGBTQ+ young people at a local youth club, and as founder of and music therapist at Phoenix Song Project – a therapy organisation co-directed with and offering therapy for other members of trans and non-binary communities. There is some discussion here about language, and Francis also discusses their clinical practice, musical training and upbringing, shifts in musical identity, including instrument choice, and the importance of the voice in their therapy work. Resources Practice Your Pronouns: https://www.patreon.com/PracticeYourPronouns https://www.youtube.com/channel/UCjZ0Kl2fL5gC4BkYd0oQKbQ/ Jessica Kingsley list: https://uk.jkp.com/collections/gender-diversity-gender-diversity-pid-906 Ruth Pearce book https://ruthpearce.net/books/understanding-trans-health/ GIRES https://www.gires.org.uk/ Gendered Intelligence (this is one example of an organisation who offer training for talking therapies, but broader resources also available that might be relevant for music therapists too) https://genderedintelligence.co.uk/ Mermaids https://mermaidsuk.org.uk/ BISH examples - https://www.bishuk.com/about-you/whats-your-gender/ https://www.bishuk.com/parents/teach-yourself-sex-ed-gender-you-and-culture/ (includes a chocolate bar gender map!) TransActual https://www.transactual.org.uk/ TransActual UK was founded by a group of British trans people in 2017 as a response to increasing press hostility, transphobia and misinformation. They are run by the trans community, with the trans community, for the trans community. In June 2020 they expanded their scope and remit so that they may: share reliable information about trans people's lives and about trans rights in the UK, as well as dispelling common myths amplify the voices of trans people so that the wider world may hear the experiences of a wide range of trans men, trans women and non-binary people educate people about trans people's lives and the issues we face advocate for trans people empower trans people to make bring about change in their lives and in the community They are working to improve: Trans people's experiences of healthcare. Legal recognition & protections for trans people. Media representation of trans people and an end to press transphobia. University of Wisconsiun, Milwaukee LGBTQ+ Resource centre: https://uwm.edu/lgbtrc Includes page about gender pronouns: https://uwm.edu/lgbtrc/support/gender-pronouns/ CliniQ - https://cliniq.org.uk The film KIKI (Dir: Sara Jordenö, 2017) provides an update from the iconic 1990 documentary Paris is Burning. Both centre around ballroom culture and vogueing. Francis recommends both as intros to this rich area of history and creative practice, spearheaded by queer people of colour. Luke's blog post: http://jazztoad.blogspot.com/2018/11/curiouser-and-curiouser.html Francis' response: https://facethemusicandtrans.wordpress.com/2018/12/17/working-with-voice-and-trans-clients-musings-in-response-to-luke-annesleys-curiouser-and-curiouser/
Dr. Pasiali received a BA Honors in Music Performance, from the University of East Anglia, Norwich, UK. Subsequently, she worked as a public school music teacher and a freelance flute performer in Cyprus. She completed her equivalency/Master's degree in Music Therapy at the University of Kansas. Upon graduation, she worked as a music therapist in private practice (Ohio, US) and at the Music School Settlement (Cleveland, Ohio). She completed her PhD in Music Education with a cognate in Music Therapy at Michigan State. Currently, she is Associate & Livingstone Professor of music therapy and Chair of the Academic Honors Program at Queens University of Charlotte, North Carolina. Her research interests include early intervention, family-based music therapy, prevention, wellness and mental health, resilience, and socioemotional health. Dr. Pasiali is a regular presenter at conferences and has published in various journals. Main lecturing areas include improvisation, applied clinical techniques, and psychology of music. She is an invited reviewer for music therapy journals including Nordic Journal of Music Therapy, Journal of Music Therapy, The Arts in Psychotherapy and Frontiers in Psychology. She served as an associate editor for the open access peer-reviewed journal Therapy, and Approaches: An Interdisciplinary Journal of Music Therapy and on the editorial board for the Journal of Music Therapy. Currently she serves on the editorial board for Music Therapy Perspectives and Approaches: An Interdisciplinary Journal of Music Therapy. At the very end of our conversation we alluded to Pinker's views on the non-adaptive role of music which he describes as 'auditory cheesecake'. Here are some links to follow this up, for anyone interested: https://www.fastcompany.com/90569391/how-did-music-evolve-harvard-study-reveals-a-surprising-theory-no-its-not-a-sexual-mating-call Also, here is a discussion by Levitin (evolutionary origins of music) about/against Pinker (who argues that music is a by product or an 'auditory cheesecake') https://youtu.be/bf_tJK-we2w Part 1 https://youtu.be/iDJH9ITlF9E Part 2 https://youtu.be/UgGRR-6jHmI Part 3 And Pinker still argues about auditory cheesecake: 12:40 Pinker discussion. http://trbq.org/trbq-podcast-6-steven-pinker-on-music/ Here also are some references and links to Varvara's work: Pasiali, V. & Clark, C. (2018). Evaluation of a music therapy social skills development program for youth with limited resources. Journal of Music Therapy, 55(3), 280-308. https://doi.org/10.1093/jmt/thy007 Pasiali, V., Schoolmeesters, L., & Engen, R. (2018). Mapping resilience: Analyses of measures and suggested uses in music therapy. Approaches: An Interdisciplinary Journal of Music Therapy, 10(1), 1-25. https://approaches.gr/wp-content/uploads/2018/10/2-Approaches-10-1-2018-a20160920_pasiali.pdf Pasiali, V. (2014). Music therapy and attachment relationships across the lifespan. Nordic Journal of Music Therapy, 23(3), 202-223. https://doi.org/10.1080/08098131.2013.829863 Pasiali, V. (2012a). Supporting parent-child interactions: Music therapy as an intervention for promoting mutually responsive orientation. Journal of Music Therapy, 49(3), 303-334. https://doi.org/10.1093/jmt/49.3.303 Pasiali, V. (2012b). Resilience, music therapy, and human adaptation: Nurturing young children and families. Nordic Journal of Music Therapy, 21(1), 36-56. https://doi.org 10.1080/08098131.2011.571276
Dr. Diane Austin DA, LCAT is the Director of the Music Psychotherapy Center in New York City where she offers a two-year post-graduate certificate program in Vocal Psychotherapy. She teaches in the graduate music therapy department at New York University. Dr. Austin has maintained a private practice in music, expressive psychotherapy and supervision for over 25 years, and has lectured and taught Vocal Psychotherapy trainings internationally. Her work has been published in numerous journals and books and translated into several languages. Diane created the first distance training program in Vocal Psychotherapy in Vancouver, B.C. and had a distance training program in Seoul, Korea for 12 years which started again virtually in 2021. Her first international/multicultural distance training program in Vocal Psychotherapy began in 2018 at Mayfield Farm in England (about an hour from London). Her book, “The Theory and Practice of Vocal Psychotherapy: Songs of the Self” was published by Jessica Kingsley in 2010 and codified the first voice-based model of music psychotherapy. Diane talks in this interview about the genesis of her approach, including her background in musical theatre and jazz, and how psychoanalysis played an important part. Dianeaustin.com Diane's email address: Diane@dianaustin.com More details about the vocal psychotherapy training programme can be found on the BAMT website Austin, D. (2009). The theory and practice of vocal psychotherapy: Songs of the self. Jessica Kingsley Publishers.
Julie Sutton works in a regional adult psychiatry NHS service for patients with severe, complex disturbance, and in private psychoanalytic practice. Having qualified in 1982 she retired from music therapy in June 2020. Over the decades her work covered most areas across the age range and she presented, lectured and examined nationally and internationally. Former Head of Training for NR London she also consulted for the Pavarotti Music Centre in Mostar. Her PhD looked at improvisation as a form of conversation & reflects a lifelong interest in relational musical processes. A BAMT Trustee for three terms, former Editor-in-Chief of the BJMT & EMTC Vice President, Julie has written about music therapy in many chapters and articles, including her books “Music, Music Therapy & Trauma” and “The Music in Music Therapy” (2002 & 2014). She is registered with the British Psychoanalytic Council and is a Board Member of the N. Ireland Psychoanalytic Society. This was an unplanned conversation that covered many areas of theory, practice and life experience. Before that, a brief excerpt from episode 1 to mark the occasion! 'Breaking Free: Freud versus music' (BBC Sounds) The musicologist Julie referred to was Max Graf Karnac books by Andrea Sabbadini References Kennedy, R. (2020). The Power of Music: Psychoanalytic Explorations. ISD LLC. Kroeker, J. (2019). Jungian music psychotherapy: When psyche sings. Routledge. Sutton, J. and De Backer, J. (2014). The music in music therapy: Psychodynamic music therapy in Europe: Clinical, theoretical and research approaches. Jessica Kingsley Publishers. Sutton, J. (2002). Music, music therapy and trauma: International perspectives. Jessica Kingsley Publishers.
Davina qualified as a music therapist from Anglia Ruskin University in 2006 and has been working in wide variety of settings ever since. She specialised in a brief therapy model, writing her masters these in this field. She has continued to explore this model in special educational needs settings with children and adults in schools and residential settings. She has worked in acute and long term mental health in the NHS and continues to explore different and innovative ways of working. She is currently one of 5 directors at Drum and Brass, a grassroots arts organisation making headway in effecting positive change in diversity and safeguarding in Leicester with dreams of changing the discourse and filling the gaps on a national landscape. She is a registered supervisor and works closely with BAMT as their area group coordinator and CPD officer. Luke and Davina talk about racial inequalities in the UK and in music therapy. They discuss the BAMT EDI Report, as well as Davina's personal experiences of growing up in the UK and training as a music therapist, including her experiences of racism. They consider where we go from here in relation to Black Lives Matter, and the current lack of racial diversity and representation in the UK music therapy profession. Podcasts: Racism at Work The Diversity Gap Other resources: The BAMT Diversity Report BMJ Response to the government report 24 April 2021 Panel discussion chaired by Davina Wilson: Racial Awareness in Music Therapy: Starting the journey to true EDIB References: Ablack, J. (2000). Body psychotherapy, trauma and the Black woman client. International Journal of Psychotherapy, 5(2), 145-151. Akala (2019) Natives: Race and Class in the Ruins of Empire. Two Roads Books. Bull, A. (2019). Class, control, and classical music. Oxford University Press. Eddo-Lodge, R. (2020). Why I’m no longer talking to white people about race. Bloomsbury Publishing. Ellis, E. (2021) The Race Conversation: An essential guide to creating life-changing dialogue. Confer Books. DiAngelo, R. (2018). White fragility: Why it's so hard for white people to talk about racism. Beacon Press. Turner, D. (2021). Intersections of Privilege and Otherness in Counselling and Psychotherapy: Mockingbird. Routledge.
Associate Professor Daphne Rickson, PhD, teaches music therapy at the New Zealand School of Music – Te Kōkī, Victoria University of Wellington, New Zealand. She has practiced music therapy and undertaken research with a range of client populations but particularly with children and adolescents in schools. Her research has involved critical analysis of the concept of disability and investigation into music as an inclusive resource, including: Participatory Action Research with young people who have intellectual disability; an investigation into singing for wellbeing in a Christchurch school severely affected by earthquakes; song-writing with adolescents experiencing life-limiting illness; and music therapy with children who have Autism Spectrum Conditions. Daphne is co-author, with Katrina McFerran, of Creating Music Cultures in the Schools: A perspective from community music therapy (2014). One of topics she touches on in this podcast is the importance of NZ MT trainers collaborating with Maori to ensure their programme is as welcoming/appropriate as it can be for Māori students, while also noticing and valuing that Maori have their own healing processes involving music. For those interested in learning more, Māori student, Ruby Solly’s writes of her use taonga puoro in music therapy practice at http://researcharchive.vuw.ac.nz/xmlui/handle/10063/8260.
© 2020-2025 Ivy Podcast Discovery LLC
