A re-publication of the second edition of the ground-breaking book by pioneer Mary Priestley. In addition to presenting a practical overview of music therapy with many case examples from her own work, Priestley also lays out the basic premises for the major improvisational model that she developed, Analytical Music Therapy. Included are her innovative, psychoanalytically based techniques for working with conscious and unconscious material through improvisation, and her forward looking experiential method of training music therapists called Intertherap. The historical significance of this book is clearly seen today in the worldwide recognition of Mary Priestley's work in the field of music therapy.

This book explores how people may use music in ways that are helpful for them, especially in relation to a sense of wellbeing, belonging and participation. The central premise for the study is that help is not a decontextualized effect that music produces. The book contributes to the current discourse on music, culture and society and it is developed in dialogue with related areas of study, such as music sociology, ethnomusicology, community psychology and health promotion. Where Music Helps describes the emerging movement that has been labelled Community Music Therapy, and it presents ethnographically informed case studies of eight music projects (localized in England, Israel, Norway, and South Africa). The various chapters of the book portray "music's help" in action within a broad range of contexts; with individuals, groups and communities – all of whom have been challenged by illness or disability, social and cultural disadvantage or injustice. Music and musicing has helped these people find their voice (literally and metaphorically); to be welcomed and to welcome, to be accepted and to accept, to be together in different and better ways, to project alternative messages about themselves or their community and to connect with others beyond their immediate environment. The overriding theme that is explored is how music comes to afford things in concert with its environments, which may suggest a way of accounting for the role of music in music therapy without reducing music to a secondary role in relation to the "therapeutic," that is, being "just" a symbol of psychological states, a stimulus, or a text reflecting socio-cultural content.

Music therapists from around the world working in conventional and unconventional settings have offered their contributions to this exciting new book, presenting spirited discussion and practical examples of the ways music therapy can reflect and encourage social change. From working with traumatized refugees in Berlin, care-workers and HIV/AIDS orphans in South Africa, to adults with neurological disabilities in south-east England and children in paediatric hospitals in Norway, the contributors present their global perspectives on finding new ways forward in music therapy. Reflecting on traditional approaches in addition to these newer practices, the writers offer fresh perceptions on their identity and role as music therapists, their assumptions and attitudes about how music, people and context interact, the sites and boundaries to their work, and the new possibilities for music therapy in the 21st century. As the first book on the emerging area of Community Music Therapy, this book should be an essential and exciting read for music therapists, specialists and community musicians.

Music therapy is growing internationally to be one of the leading evidence-based psychosocial allied health professions to meet needs across the lifespan. This is a comprehensive text on this topic. It presents exhaustive coverage of music therapy from international leaders in the field

Kenneth H. Phillips, Ph.D., is Professor of Music and Director of Graduate Studies in Music Education at Gordon College and Professor Emeritus of the University of Iowa. An award-winning researcher and teacher, he has been recognized by the National Association of Music Education (MENC) as one of the nation's most accomplished music educators. Dr. Phillips is the author of Teaching Kids to Sing (Schirmer Books/Thompson), Basic Techniques of Conducting (OUP), and Directing the Choral Music Program (OUP), and has written over 90 articles published in leading music education journals. He has made numerous presentations of his research throughout the United States, and in Canada, China, Australia, and New Zealand.

This book provides valuable insight into the work of professional music therapists in their clinical practice. The contributors discuss work with a diverse range of clients, including those suffering from Alzheimer's, anorexia nervosa, schizophrenia, psychosis, personality disorder, anxiety and psychosomatic disorder.

An ambitious and long-awaited text that sets out the basic practices and principles of approaches to music therapy that place music and music experience in a central role. The text provides a philosophical and practical rationale for music experience as a legitimate goal of clinical music therapy. An historical account is given of music-centered thinking in music therapy and the manifestation of this way of thinking in various contemporary music therapy models. The latter part of the book develops the specifics of a particular music-centered theory that is meant to be applicable across different domains of treatment. This book is essential for readers interested in the development of theory in music therapy, for music-centered practitioners who have been searching for a vocabulary and conceptual framework in which to articulate their clinical approach, and for anyone interested in the intrinsic value of music experience for human development.

Music therapy professionals work with diverse population groups, and this book provides therapists, and those in training, with the tools to integrate understanding of different cultural and social identities into their practice. Topics addressed include heritage, age, location, identity and health beliefs, and how to understand the dynamics of the variety of different cultures which music therapists will encounter in the course of their practice. Each chapter is written by an expert on a topic of personal interest in music therapy, explored through a multicultural lens. The chapters include anecdotes, case studies, and practical activities to try, while encouraging the reader to reflect on their own identity as a music therapist. This book is essential reading for all music therapy professionals wanting to practice in a culturally-informed manner, and respect the needs, contributions and strengths of every client.

The book examines the origins and theory of AMT (including a contribution on the subject from Mary Priestley), before exploring its uses in various contexts. Chapters cover AMT in counselling and rehabilitation, with adults and children and with nonverbal clients. A concluding section discusses aspects of the training of music therapy students.

This book explores how people may use music in ways that are helpful for them, especially in relation to a sense of wellbeing, belonging and participation. The central premise for the study is that help is not a decontextualized effect that music produces. The book contributes to the current discourse on music, culture and society and it is developed in dialogue with related areas of study, such as music sociology, ethnomusicology, community psychology and health promotion. Where Music Helps describes the emerging movement that has been labelled Community Music Therapy, and it presents ethnographically informed case studies of eight music projects (localized in England, Israel, Norway, and South Africa). The various chapters of the book portray "music's help" in action within a broad range of contexts; with individuals, groups and communities - all of whom have been challenged by illness or disability, social and cultural disadvantage or injustice. Music and musicing has helped these people find their voice (literally and metaphorically); to be welcomed and to welcome, to be accepted and to accept, to be together in different and better ways, to project alternative messages about themselves or their community and to connect with others beyond their immediate environment. The overriding theme that is explored is how music comes to afford things in concert with its environments, which may suggest a way of accounting for the role of music in music therapy without reducing music to a secondary role in relation to the "therapeutic," that is, being "just" a symbol of psychological states, a stimulus, or a text reflecting socio-cultural content.