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Books on the topic 'Music therapy students'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Adolescents, music and music therapy: Methods and techniques for clinicians, educators and students. Jessica Kingsley Publishers, 2010.

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2

Carroll, Debbie. Clinical improvisation techniques in music therapy: A guide for students, clinicians and educators. Charles C. Thomas, Publisher, Ltd., 2013.

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3

Lloyd, Pat. Let's all listen: Songs for group work in settings that include students with learning difficulties and autism. Jessica Kingsley, 2007.

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4

Self-esteem, recovery and the performing arts: A textbook and guide for mental health practitioners, educators and students. Charles C. Thomas, 2011.

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5

Douglass, Donna. Self-esteem, recovery and the performing arts: A textbook and guide for mental health practitioners, educators and students. Charles C. Thomas, 2011.

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6

Edwards, Jane. Conceptualizing Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.32.

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New students of music therapy soon find that the most common inquiry about their field of study is “What is music therapy?” They may also be asked questions such as “Does that work?” Even experienced practitioners in the field can find these questions annoyingly routine in meeting new colleagues. In answering these questions, providing a definition of music therapy is important. There are multiple constructs through which the functions and capacities of music therapy can be usefully discussed. Five of these areas are elaborated in theOxford Handbook of Music Therapy; music therapy contexts and

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7

Wigram, Tony, and Denise E. Grocke. Receptive Methods in Music Therapy: Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students. Jessica Kingsley Publishers, 2007.

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8

(Editor), Felicity Baker, and Tony Wigram (Editor), eds. Songwriting: Methods, Techniques And Clinical Applications For Music Therapy Clinicians, Educators And Students. Jessica Kingsley Publishers, 2005.

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9

1970-, Baker Felicity, and Wigram Tony, eds. Songwriting: Methods, techniques and clinical applications for music therapy clinicians, educators, and students. Jessica Kingsley Publishers, 2005.

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10

Wigram, Tony. Improvisation: Methods and Techniques for Music Therapy Clinicians, Educators, and Students. Jessica Kingsley Publishers, 2004.

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11

Wigram, Tony. Improvisation: Methods and Techniques for Music Therapy Clinicians, Educators, and Students. Kingsley Publishers, Jessica, 2017.

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12

Lloyd, Pat. Let's all listen: Songs for group work in settings that include students with learning difficulties and autism. 2016.

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13

Edwards, Jane. Training, Education, and Professional Issues in Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.49.

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Becoming a practitioner in music therapy occurs at multiple levels. At an individual level the student’s processes and learning are part of thisbecoming. At an interpersonal level the interactions between students as a group and in collaboration with their educators, fieldwork supervisors, and clients shape and frame the development of professional competencies. At the wider systemic level the values and processes of training are influenced by the provider institution, usually a university, and the management and department in which the music therapy training programme is housed. This systemic

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14

Edwards, Jane. Approaches and Models of Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.38.

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This chapter presents eleven models and approaches in music therapy practice. The inclusion criteria is that each forms the basis, or is part, of an existing training, and at least one monograph exists. The distinction betweenmodelsand approaches is made such that models refer to developments which evolved from music therapy practice, andapproachesare music therapy techniques and methods overlaid on an existing model of therapy or theoretical principles. Music therapy training requires learning about theory within the parameters of at least one model or approach, and this engagement must be th

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15

Kish, Mary-Ellen. The use of music in classrooms for mentally retarded students. 1987.

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16

Kish, Mary-Ellen. The use of music in classrooms for mentally retarded students. 1987.

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17

Microanalysis in music therapy: Methods, techniques and applications for clinicians, researchers, educators and students. J. Kingsley, 2007.

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18

1966-, Wosch Thomas, and Wigram Tony, eds. Microanalysis in music therapy: Methods, techniques and applications for clinicians, researchers, educators and students. J. Kingsley, 2007.

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19

(Foreword), Barbara L. Wheeler, Thomas Wosch (Editor), and Tony Wigram (Editor), eds. Microanalysis in Music Therapy: Methods, Techniques and Applications for Clinicians, Researchers, Educators and Students. Jessica Kingsley Publishers, 2007.

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20

Hayes, Tommy. Music Therapy in the Context of the Special School. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.51.

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Music therapy in special education aims to address the learning goals for students with disabilities in group or individual sessions. Music therapy practice has a long history of service within special education, and has a developing evidence base to support the benefits of music therapy. This chapter describes how music therapy is included within a special school setting which provides education services to students with disabilities. Music therapists work alongside allied health and education professionals to assist students to achieve learning targets in areas of communication, social, emot

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21

Let's All Listen: Songs for Group Work in Settings That Include Students With Learning Difficulties and Autism. Jessica Kingsley Publishers, 2008.

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22

Edwards, Jane. Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.52.

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This chapter outlines the importance of understanding the dynamics of the service context along with the needs of the population being served in order to achieve effective implementation of music therapy programmes. The new music therapist, and the student, must take care to ensure they understand as much as possible about the population, the services, and the wider policy context in the place where they are providing services before translating research findings or the techniques described in case studies to their own developing practice. Music therapy has an emergent evidence base as provide

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23

Myrick, Nathan. Music for Others. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197550625.001.0001.

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Musical activity is one of the most ubiquitous and highly valued forms of social interaction in North America—from sporting events to political rallies, concerts to churches. Its use as an affective agent for political and religious programs suggests that it has ethical significance, but it is one of the most undertheorized aspects of both theological ethics and music scholarship. Music for Others: Care, Justice, and Relational Ethics in Christian Music fills part of this scholarly gap by focusing on the religious aspects of musical activity, particularly on the practices of Christian communit

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