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Jan 1, 1996 · This paper focuses on that musical process and is concerned, in particular, with the distinction between purely musical improvisation (or improvisation as art- form) and clinical improvisation (or improvisation as therapy), a distinction which we believe to be critical Sandra Brown works as a music therapist at the Nordoff-Robbins Music Therapy ...
- Sandra Brown, Mercedes Pavlicevic
- 1996
I examine how a consideration of ontology enables a distinction to be drawn between the music made within the clinical setting, known as clinical improvisation, and music that is made elsewhere. The context for this enquiry is the music therapy practice of the UK.
- Crystal Luk
As a music therapy process, clinical improvisation is the free or guided extemporaneous use of music, undertaken by the therapist and/or client, using a range of tuned and untuned instruments and voice, to maintain or improve health (Bruscia, 1987). Typically, the goals of improvisational music therapy
Finally, I examine the nature of clinical improvisation in relation to performance. I explain how a consideration of distinct ontologies of music within clinical improvisation indicates a further distinction between the music of music therapy and art improvisation that is made elsewhere.
Nov 13, 2018 · Thematic analysis highlighted the artists’ experiences in terms of: (1) requirements of engaging in clinical improvisation; (2) experiences of self; (3) relationship with the music therapist; and (4) a unique experience for classical musicians.
- Deborah Seabrook
- 2019
Clinical Improvisation Techniques in Music Therapy—A Guide for Students, Clinicians and Educators provides a clear and systematic approach to understanding and applying improvisational techniques.
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Jan 1, 2009 · The adequacy of improvisation-based competencies and guidelines established by AMTA, CBMT, and NASM for instruction in effective and ethical use of clinical improvisation is questioned.
