Dorit Amir

Let's talk music: A musical-communal project for enhancing communication among students of multi-cultural origin

In the present article we describe a special project (Lets talk music) in which a multi-cultural group, including immigrants and Israeli-born students (Sabras), was formed. The group was designed according to recommended guidelines for successful contact between groups (Amir, 1969) and implemented music therapy techniques based on psychodynamic principles. Twelve immigrants and Sabras, themselves children of immigrants, met for 24 weekly sessions, conducted by a music therapist. Quantitative and qualitative research which accompanied the project showed that the group process enabled most students, immigrants as well as Sabras, to be more identified with their cultural roots as well as with the Israeli “host” culture. As a result of the group process, students could express more acceptance and openness towards the “other”. It was found that music was a key ingredient in these developments. Results are discussed in light of the common ingroup identity model.

The unexpected side-effects of dissonance

The effects of dissonant and consonant music on cognitive performance were examined. Situational dissonance and consonance were also tested and determined as the state where one’s opinion is contrasted or matched with the majority’s opinion, respectively. Subjects performed several cognitive tasks while listening to a melody arranged dissonantly, consonantly or under silence. Prior to hearing the music, subjects were given ‘worldwide opinions’ of the music they were about to hear: adequate information (e.g. positive evaluation of consonant music), inadequate information (e.g. positive evaluation of dissonant music) or neutral information. Results showed that dissonant situations (musical as well situational) improved cognitive abilities. This was found under different cognitive loads. A possible explanation involves recalibration of the dissonance-consonance continuum with arousal. It may be that dissonance brings arousal to optimal levels, thus sharpening concentration. Ways to expand the understanding of dissonance and its effects on performance and cognition are discussed.

Re–finding the Voice – Music Therapy with a Girl who has Selective Mutism

The purpose of the article is to describe and understand the role of music therapy in working with a client who suffers from Selective Mutism (SM). Special attention is given to the definition, etiology, and treatment approaches of SM. My theoretical perspective, the importance of the musical act, and the role of the therapist in working with such clients are discussed. The case example that follows presents two years of work with Shiran, a 6 year–old girl who suffers from SM. I describe and analyze the therapeutic process and bring my insights and understandings as well as Shirans changes throughout the process. An emphasis is put on the role of improvisation in processing unresolved issues in Shirans life.

Discovering the flute’s voice: on the relation of flutist music therapists to their primary instrument

ABSTRACT The flute, as a primary instrument, carries a special meaning for music therapists who are flutists. In order to find out more about the meaning of flute playing and its manifestation in music therapy practice, three flutist music therapists were interviewed. The interviews were transcribed and analysed according to the interpretative phenomenological analysis method. The findings reveal the deep, multi-layered connection between flutist music therapists and their flutes throughout their lives and illuminate the active role participants had to take in turning their flute into a therapeutic instrument. Replacing the professional flute with a therapeutic one is a significant milestone in the course of becoming a flutist music therapist. Participants described flute playing in therapy as enhancing their playfulness and proficiency as well as expanding their musical freedom. The flute’s sound is portrayed as projecting love and tenderness, allowing special intimacy between client and therapist.

Book Reviews And Summaries

Professional Communication Aigen, Ken (2003). A Guide to Writing & Presenting in Music Therapy. Gilsum, NH: Barcelona, Publishers (122 pages). Supportive Eclectic Music Therapy for Grief and Loss Bright, Ruth (2002). Supportive Eclectic Music Therapy for Grief and Loss. A Practical Handbook for Professionals. St. Louis: MMB Music, Inc. Receptive Music Therapy Frohne-Hagemann, Isabelle (Ed.) (2004). Rezeptive Musiktherapie: Theorie und Praxis [Receptive Music Therapy: Theory and Practice]. Wiesbaden: Reichert Verlag - Zeitpunkt Musik Psychiatric Music Therapy in the Community McGuire, Michael G. (Ed.) (2004). Psychiatric Music Therapy in the Community: The Legacy of Florence Tyson. Gilsum, NH: Barcelona Publishers. Therapy in Music for Handicapped Children Nordoff, P. & Robbins, C. (2004). Therapy in Music for Handicapped Children. Gilsum, NH: Barcelona Publishers. 199 pages, (re-issue). ISBN 1-891278-19-3 Groups in Music Pavlicevic, Mercedes (2003). Groups in Music. Strategies from Music Therapy. London and New York: Jessica Kingsley publishers. 252 pages, ISBN 1843100819 Tiefenpsychologisch orientierte Musiktherapie Timmermann, Tonius (2004). Tiefenpsychologisch orientierte Musiktherapie: Bausteine fiir eine Lehre [Psychoanalytically oriented music therapy: Elements for education]. Wiesbaden: Dr. Ludwig Reichert Verlag.