Journal of British Music Therapy
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115
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8
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Published By Sage Publications

0951-5038

1994 ◽  
Vol 8 (2) ◽  
pp. 29-31
Author(s):  
Alison Levinge
Keyword(s):  

1994 ◽  
Vol 8 (2) ◽  
pp. 19-24 ◽  
Author(s):  
Heather Purdie ◽  
Steve Baldwin

This paper discusses the theoretical background to the concept of low self-esteem. It investigates the effects of stroke and how low self-esteem can present in a person with a stroke. Thereafter it looks at the behavioural outcomes and the causes of low self-esteem and goes on to examine how music therapy can be used as an intervention to facilitate behavioural and psychological change in the context of stroke rehabilitation.


1994 ◽  
Vol 8 (2) ◽  
pp. 10-18 ◽  
Author(s):  
Helen Loth

This paper looks at aspects of work in the forensic psychiatric setting. It is based on music therapy work in a Medium Secure Unit, situated within a general psychiatric hospital. It was felt that there were several important differences in working in this unit of the hospital which often seemed to question the feasability and existence of a music therapy group. This paper concerns itself with these differences. A brief introduction to forensic psychiatry and secure units is given first. This is followed by a short case study of an eight-week music therapy group from which material is used to look at the themes identified. These are summarized into the headings of choice, denial and the law. Their effect on the patients is discussed and the ways in which the music therapy group can address the issues involved are highlighted.


1994 ◽  
Vol 8 (2) ◽  
pp. 29-29
Author(s):  
Margaret Lobo

1994 ◽  
Vol 8 (2) ◽  
pp. 26-27
Author(s):  
Ann Sloboda
Keyword(s):  

1994 ◽  
Vol 8 (2) ◽  
pp. 2-3
Author(s):  
Ann Sloboda

1994 ◽  
Vol 8 (2) ◽  
pp. 25-26
Author(s):  
Rachel Darnley-Smith
Keyword(s):  

1994 ◽  
Vol 8 (1) ◽  
pp. 5-6 ◽  
Author(s):  
Janice M. Dvorkin

It is the focus of this paper to look at the idea of resistance as providing information on the primary object experience. Using this information, the music therapist needs to assess his or her role in playing music during the session, in the same way that he or she assesses verbal interventions.


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