Songwriting: Methods, Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students PDF
Preview Songwriting: Methods, Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students
Songwriting of relatedinterest Improvisation MethodsandTechniquesforMusicTherapyClinicians,EducatorsandStudents TonyWigram ForewordbyProfessorKennethBruscia ISBN1843100487 FreeaccompanyingCD ReceptiveMethodsinMusicTherapy TechniquesandClinicalApplicationsforMusicTherapyClinicians,EducatorsandStudents DeniseGrockeandTonyWigram ISBN184310413X MicroanalysesinMusicTherapy Methods,TechniquesandApplicationsforClinicians,Researchers, EducatorsandStudents EditedbyThomasWoschandTonyWigram ISBN1843104695 AComprehensiveGuidetoMusicTherapy Theory,ClinicalPractice,ResearchandTraining TonyWigram,IngeNygaardPedersenandLarsOleBonde ISBN1843100835 FreeaccompanyingCDandCD-ROM ClinicalApplicationsofMusicTherapyinPsychiatry EditedbyTonyWigramandJosDeBacker ForewordbyJanPeuskens ISBN1853027332 ClinicalApplicationsofMusicTherapyinDevelopmentalDisability, PaediatricsandNeurology EditedbyTonyWigramandJosDeBacker ForewordbyColwynTrevarthen ISBN1853027340 MusicTherapyinHealthandEducation EditedbyMargaretHealandTonyWigram ForewordbyAnthonyStorr ISBN185302175X MusicTherapy–IntimateNotes MercédèsPavlicevic ISBN1853026921 CommunityMusicTherapy EditedbyMercédèsPavlicevicandGaryAnsdell ForewordbyEvenRuud ISBN1843101246 Music Therapy in Context Music,MeaningandRelationship MercédèsPavlicevic PrefacebyColwynTrevarthen ISBN1853024341 Songwriting Methods, Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students Edited by Felicity Baker and Tony Wigram JessicaKingsleyPublishers LondonandPhiladelphia Ethicalguideline Thetherapeuticmethodsandtechniquesdefinedanddescribedinthisbookareforuseby qualifiedclinicalmusictherapypractitionersandstudentsintrainingwhohavecompletedorare undertakingrecognizedclinicaltraining. Allrightsreserved.Nopartofthispublicationmaybereproducedinanymaterialform(including photocopyingorstoringitinanymediumbyelectronicmeansandwhetherornottransientlyor incidentallytosomeotheruseofthispublication)withoutthewrittenpermissionofthecopyrightowner exceptinaccordancewiththeprovisionsoftheCopyright,DesignsandPatentsAct1988orunderthe termsofalicenceissuedbytheCopyrightLicensingAgencyLtd,90TottenhamCourtRoad,London, EnglandW1T4LP.Applicationsforthecopyrightowner’swrittenpermissiontoreproduceanypartofthis publicationshouldbeaddressedtothepublisher. Warning:Thedoingofanunauthorisedactinrelationtoacopyrightworkmayresultinbothacivilclaim fordamagesandcriminalprosecution. Therightofthecontributorstobeidentifiedasauthorsofthisworkhasbeenassertedbythemin accordancewiththeCopyright,DesignsandPatentsAct1988. Firstpublishedin2005 byJessicaKingsleyPublishers 116PentonvilleRoad LondonN19JB,UK and 400MarketStreet,Suite400 Philadelphia,PA19106,USA www.jkp.com Copyright©JessicaKingsleyPublishers2005 LibraryofCongressCataloginginPublicationData Songwriting:methods,techniquesandclinicalapplicationsformusictherapyclinicians,educators,and students/editedbyFelicityBakerandTonyWigram. p.cm. Includesbibliographicalreferencesandindex. ISBN-13:978-1-84310-356-1(pbk.) ISBN-10:1-84310-356-7(pbk.) 1. Musictherapy--Casestudies. I.Baker,Felicity,1970-II.Wigram,Tony. ML3920.S7262005 615.8'5154--dc22 2005001861 BritishLibraryCataloguinginPublicationData ACIPcataloguerecordforthisbookisavailablefromtheBritishLibrary ISBN-13:9781843103561 ISBN-10:1843103567 ISBNpdfeBook:1846421446 PrintedandBoundinGreatBritainby AthenaeumPress,Gateshead,TyneandWear Contents Foreword: Soundtracks of our life 9 EvenRuud,Universityof Olso,Norway Introduction: Songwriting as Therapy 11 TonyWigram,AalborgUniversity,DenmarkandFelicityBaker,TheUniversityof Queensland,Australia 1 Improvised Songs and Stories in Music Therapy Diagnostic Assessments at a Unit for Child and Family Psychiatry: A Music Therapist’s and a Psychotherapist’s Perspective 24 AmeliaOldfield,TheCroftUnitforChildandFamilyPsychiatry,Cambridge,UK, andChristineFranke,CentreforPsychoanalyticStudies,EssexUniversity,UK 2 You Ask Me Why I’m Singing: Song-creating with Children at a Child and Family Psychiatric Unit 45 EmmaDavies,TheCroftUnitforChildandFamilyPsychiatry,Cambridge,UK 3 Teenagers and Songwriting: Supporting Students in a Mainstream Secondary School 68 PhilippaDerrington,CambridgeshireInstrumentalMusicAgency,UK 4 Giving a Voice to Childhood Trauma through Therapeutic Songwriting 82 ToniDay,TheUniversityof Queensland,Australia 5 Collaborations on Songwriting with Clients with Mental Health Problems 97 RandiRolvsjord,SognogFjordaneUniversityCollege,Norway 6 Songwriting to Explore Identity Change and Sense of Self-concept Following Traumatic Brain Injury 116 FelicityBaker,JeanetteKennelly,TheRoyalChildren’sHospital,Australia,andJeanette Tamplin,RoyalTalbotRehabilitationCentre,Australia 7 Working with Impairments in Pragmatics through Songwriting following Traumatic Brain Injury 134 FelicityBaker 8 Assisting Children with Malignant Blood Disease – to Create and Perform their Own Songs 154 TrygveAasgaard,NorwegianAcademyof MusicandOsloUniversityCollege,Norway 9 Songwriting with Adult Patients in Oncology and Clinical Haematology Wards 180 EmmaO’Brien,TheRoyalMelbourneHospital,Australia 10 The Music Therapist as Singer-songwriter: Applications with Bereaved Teenagers 206 RobertKrout,SouthernMethodistUniversity,Texas,USA 11 Songwriting with Oncology and Hospice Adult Patients from a Multicultural Perspective 226 CherylDileo,TempleUniversity,Philadelphia,USA,andLucanneMagill,Memorial Sloan-KetteringCancerCenter,NewYork,USA 12 Songwriting Methods – Similarities and Differences: Developing a Working Model 246 TonyWigram REFERENCES 265 THECONTRIBUTORS 272 SUBJECTINDEX 276 AUTHORINDEX List of Tables Table4.1 Ideasbrainstormedforthesong‘Livingalie’ 92 Table7.1 Harmonicprogressionsusefulinconstructingsongs 144 Table7.2 AssessmentofCraig’stherapyparticipationinsession3 151 Table8.1 Issuesandguidingprinciplesofsongwritinginchildoncology 157 Table8.2 Fivedifferentversionsofonesong:‘Suspiciouslycheerful’ 167 Table9.1 StagesintheGOLMmethod 184 Table10.1 Tenstepsinthesongwritingprocess 211 Table11.1 Structureofthe12-barbluesform 235 Table11.2 StructureofasimpleIndianchant 238 Table12.1 Structureorflexibilityinsongwritingapproaches 248 Table12.2 Themesofsongsrelevanttothepopulationdefinedinthechapter 250 Table12.3 Typesofstructured,semi-structuredorimprovisedprotocols 251 Table12.4 Lyriccreationtechniquesspecifiedinthechapter 253 Table12.5 Musiccreationtechniquesspecifiedinthechapter 254 Table12.6 Theextendedlifeandfunctionofcreatedsongs 256 List of Figures Figure1.1 ‘Open’Cmajorintroduction 31 Figure1.2 Soundeffectsforachase 31 Figure1.3 ‘Spookymoment’ 32 Figure1.4 ‘Sleepymusic’ 32 Figure1.5 ‘Shaveandahaircuttoday’rhythm 34 Figure2.1 ‘Spirit’ 55 Figure2.2 Brainstormingexample 56 Figure2.3 ‘Thepowerofprejudice’ 57 Figure2.4 ‘HowIfeel’ 60 Figure2.5 Songwritingfeedbackquestionnaire 67 Figure3.1 ‘Therewasatime’ 77 Figure4.1 ‘Livingalie’ 94 Figure5.1 Finalversionof‘Father’scrime’ 105 Figure5.2 Alternativesfortheendoftherefrain 107 Figure5.3 Finalversionof‘Cryoutandshout’ 108 Figure5.4 ‘Cryoutandshout’arrangedforSATBchoir 109 Figure5.5 Constructedexampleoftheimprovisationforthefirstverseof‘Bewithmenow’ 112 Figure5.6 Thesong‘Bewithmenow’ 113 Figure6.1 Finalversionof‘Afilthysong’ 131 Figure7.1 Finalversionof‘Fishinthesea’ 149 Figure8.1 Rhythmicpatternfor‘Schoolholiday’ 163 Figure8.2 Thebeginningmelodyofthesong‘Ontheoutside’ 164 Figure8.3 ‘Hairpoem’ 172 Figure8.4 ‘Itisveryboringtostayinhospital’ 174 Figure8.5 ‘Schoolholidayinisolationroomnumbernine’ 177 Figure8.6 ‘Schoolholiday’ 178 Figure9.1 ThefirstexampleofstyleofferedbythetherapistinMarla’ssession 191 Figure9.2 ThesecondexampleofstyleofferedbythetherapistinMarla’ssession 192 Figure9.3 Thethirdexampleofstyleofferedinthissession 192 Figure9.4 Thefinalexampleofstyleofferedinthissession 193 Figure9.5 ThefirstmelodicexampleofferedinMark’ssession 195 Figure9.6 ThesecondmelodicexampleofferedinMark’ssession 196 Figure9.7 Thedevelopmentofanintegratedmelodiclineusingsustainednotes andsilence(pausing)fromthetherapistandmelodicresponsesfromthepatient 197 Figure9.8 Anexampleofmelodicshorthandusedtonotatesongsduringsessions 198 Figure9.9 TheopeningmelodyandaccompanimenttoPina’ssong‘Milestones’ 199 Figure9.10 AnexampleofinterpretingagestureandreflectingitmusicallyduringPina’ssession 200 Figure9.11 TheopeningmelodyandaccompanimenttoVeronica’sfirstverse 201 Figure9.12 AnexampleofwordpaintingusingtheaccompanimentinstigatedbyVeronica 201 Figure10.1 Leadsheetforthesong‘Beallright’ 208 Figure10.2 ‘Beallright’guitarrhythmfigure 219 Figure10.3 ‘Beallright’guitarchords 222 Figure11.1 Exampleofrhythmicpatternoflyricsinsongnarratives 232 Figure11.2 Exampleofamelodyforabluessong 236
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