Foreword, Even Ruud. Introduction: Songwriting as therapy, Felicity Baker, The University of Queensland, Australia and Tony Wigram, Aalborg University, Denmark. 1. Improvised Songs and Stories in Music Therapy Diagnostic Assessments at a Unit for Child and Family Psychiatry: A Music Therapist's and a Psychotherapist's Perspective, Amelia Oldfield, The Croft Children's Unit, Cambridge, UK and Christine Franke, Centre for Psychoanalytic Studies, Essex University, UK. 2. You Ask Me Why I'm Singing: Song creating with Children and Parents in Child and Family Psychiatry, Emma Davies, The Croft Children's Unit, Cambridge, UK. 3. Teenagers and songwriting: Supporting in a Mainstream Secondary School, Philippa Derrington, Cambridgeshire Instrumental Music Agency, UK. 4. Giving a Voice to Childhood Trauma through Therapeutic Songwriting, Toni Day, The University of Queensland, Australia. 5. Collaborations on Songwriting with Clients with Mental Health Problems, Randi Rolvsjord, Sogn og Fjordane University College, Norway. 6. Songwriting to Explore Identity Change and Sense of Self-concept Following Traumatic Brain Injury, Felicity Baker, Jeanette Kennelly, The Royal Children's Hospital, Australia and Jeanette Tamplin, Royal Talbot Rehabilitation Centre, Australia. 7. Working with Impairments in Pragmatics through Songwriting with Traumatically Brain Injured People, Felicity Baker. 8. Assisting Children with Malignant Blood Disease - and Their Family - to Create and Perform Their Own Songs, Trygve Aasgaard, Norwegian Academy of Music and Oslo University College, Norway. 9. Songwriting with Adult Patients in Oncology and Clinical Haematology, Emma O'Brien, The Royal Melbourne Hospital, Australia. 10. The Music Therapist as Singer/Songwriter: Applications with Bereaved Teenagers, Robert Krout, Southern Methodist University, Texas, USA. 11. Songwriting with Oncology and Hospice Adult Patients from a Multicultural Perspective, Cheryl Dileo, Temple University, Philadelphia, USA and Lucanne Magill, Memorial Sloan-Kettering Cancer Center, New York, USA. 12. Songwriting Methods - Similarities and Differences: Developing a Working Model, Tony Wigram. References. Index.
Felicity Baker qualified as a music therapist at the University of Melbourne in 1992. She has since completed a research Masters (1999, Melbourne University) and a PhD (2004, Aalborg University). She has many years of experience providing music therapy programmes for people with traumatic brain injury and is widely published in this area. She is currently head of the music therapy training programme at the University of Queensland, Australia, and editorial board member of the Nordic Journal of Music Therapy. Tony Wigram holds the Chair and is Head of PhD studies in Music Therapy at the Institute for Music and Music Therapy at the University of Aalborg, Denmark. In addition to his teaching, he is Head Music Therapist at Harper House Children's Service (Hertfordshire, England) and Research Advisor to the Hertfordshire Partnership NHS Trust. He is a Research Associate at the University of Melbourne, Visiting Professor at Anglia Polytechnic University, and Adjunct Professor on music therapy courses in Belgium, Italy and Spain. He has published extensively in his specialised areas of diagnosis and assessment, vibroacoustic therapy, Rett syndrome, applied improvisation skills and music therapy education.
I considered dipping in and out of chapters but ended up reading from cover to cover. I found it interesting and intriguing to progress through the diversity of therapists' orientations, practices and contexts, wondering how it would all come together in the end. There are inspiring ideas and moving case examples expressed in many of the chapters. -- British Journal of Music Therapy Practically oriented, instructive, inclusive and forthright, this book focuses on techniques for writing songs with clients and is geared chiefly toward music therapy clinicians, students and educators. This methods book attempts to explore and emphasize the value of songwriting within a therapeutic context and, ultimately, to define the methods and techniques used, both for teaching purposes and for the analysis and explanation of clinical processes and outcomes. This welcome effort to fully recognize the inherent value of songwriting and to systematically standardize its uses in the field was long overdue, as music therapists have long incorporated songwriting in their clinical repertoire of methods. Reading this book undoubtedly strengthens one's confidence in the procedure of songwriting with the client and in its overall effectiveness as a method of facilitating therapy. As a music therapist who, like so many others in this field, integrates songwriting in her clinical work, I feel that I derived much theoretical and practical information from Songwriting. As a methods book, I found it to be efficient, informative and interesting both to the student and to the practicing music therapist, with a refreshing variety of techniques that may enrich the songwriting repertoire of even the most experienced clinician. -- Nordic Journal of Music Therapy