Hostname: page-component-586b7cd67f-rdxmf Total loading time: 0 Render date: 2024-11-25T06:34:11.637Z Has data issue: false hasContentIssue false
  • English
  • Français

Music as Therapy: Towards an Integrated Experience

Published online by Cambridge University Press:  18 December 2008

Mercédès Pavlicevic
Get access Rights & Permissions [Opens in a new window]

Extract

An integrated musical experience is an elusive event whose occurrence is acknowledged – consciously or unconsciously – by all human beings. It comprises numerous interactive factors, any of which can impede or facilitate the move towards musical integration.

The implications exist that all human beings are inherently music-beings, that music is inherently therapeutic and that musical and self-integration are reciprocal. Thus changes in either will be reflected in the other, and when used in a specifically therapeutic way, music will promote self-integration. Acknowledging these implications broadens and enriches the concepts of healing, of teaching, and of music making, so that all who participate in these events can potentially be profoundly moved towards a more integrated creative experience.

Type
Research Article
Information
British Journal of Music Education , Volume 2 , Issue 2 , July 1985 , pp. 153 - 158
Copyright
Copyright © Cambridge University Press 1985

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abraham, G. (1974) The Tradition of Western Music. Berkeley, Calif.: University of California Press.Google Scholar
Blacking, J. (1976) How Musical is Man? London: Faber & Faber.Google Scholar
Brandon, D. (1976) Zen and the Art of Helping. London: Routledge & Kegan Paul.Google Scholar
Bruner, J. (1966) On Knowing – Essays for the Left Hand. Cambridge, Mass.: Harvard University Press.Google Scholar
Cooper, D. (1977) Psychiatry and Anti-Psychiatry. St Albans, Herts: Paladin Books.Google Scholar
Copland, A. (1972) Music and Imagination. Cambridge, Mass.: Harvard University Press.Google Scholar
Freire, P. (1977) Cultural Action for Freedom. Harmondsworth: Penguin.Google Scholar
Fromm, E. (1976) To Have or to Be? London: Abacus.Google Scholar
Illich, I. (1973) Deschooling Society. Harmondsworth: Penguin.Google Scholar
Illich, I. (1977) Limits to Medicine, Medical Nemesis: The Expropriation of Health. Harmondsworth: Penguin.Google Scholar
Jung, C. G. (ed.) (1964) Man and his Symbols. London: Aldus Books.Google Scholar
Khan, I. (1973) Music. New Delhi: Sufi.Google Scholar
Laing, R. D. (1965) The Divided Self. Harmondsworth: Penguin.Google Scholar
Nieman, A. (1978) ‘The composer and creative tension.’ In Grindea, C. (ed.), Tensions in the Performance of Music. London: Khan & Averill.Google Scholar
Nordoff, P. & Robbins, C., (1971) Therapy in Music for Handicapped Children. London: Gollancz.Google Scholar
Nordoff, P. & Robbins, C. (1977) Creative Music Therapy. New York: John Day.Google Scholar
Rogers, C. (1976) Freedom to Learn. Columbus, Ohio: Merrill.Google Scholar
Storr, A. (1960) The Integrity of the Personality. Harmondsworth: Penguin.Google Scholar
Storr, A. (1976). The Dynamics of Creation. Harmondsworth: Penguin.Google Scholar
Stravinsky, I. (1974). Poetics of Music. Cambridge, Mass.: Harvard University Press.Google Scholar
Zuckerkandl, V. (1973). Man the Musician, (trans. Guterman, N.). Princeton, N.J.: Princeton University Press.Google Scholar