Proceedings of the 14 WFMT World Congress of Music Therapy
July 7-12, 2014 in Vienna/Krems, Austria
WE ALL MAKE MUSIC: A STUDY OF MUSIC ENSAMBLE FOR
SPECIAL NEEDS YOUTH Juan Pedro Zambonini Universidad del Salvador, Argentina Ralf Niedenthal Centro C.A.M.I.N.O., Argentina Introduction. The present paper intends to share our perspectives and findings based on our experience coordinating a musical ensemble with special needs youth in the city of Buenos Aires, Argentina during the year 2013. The ensemble was carried out as part of the activities of the department of Adaptive Musical Pedagogy of Centro C.A.M.I.N.O. in Buenos Aires, Argentina. The population included young people between the ages of 13 and 21 years of age with diverse diagnosis such as Down syndrome, cerebral palsy and undiagnosed disorders. Before entering the group each patient had to complete an interview to determine if he/she met the criteria for admission to the ensemble. The principal admission condition was to have basic learning capacity in order to learn a song and remember simple musical instructions such as changes in tempo and dynamics. The ensemble met weekly on Saturdays. The goals for the project were: to promote significant social interactions, provide experiences closed to their chronological age, develop social skills and experience a sense of belonging with peers. Methodology. The project incorporated the dynamic of co-therapy into its methodology. Both music therapists coordinated the ensemble sessions and met twice weekly to analyze, reflect and plan the project with periodic supervisions with the center coordinator. Each ensemble session was
planned with anticipation outlining a
maximum of three possible activities, leaving room for spontaneous participant suggestions. After each session both therapists recorded the most relevant information in log that documented dates, patients that attended, goals, activities, clinical observations, personal impressions by each therapist as well as suggestions for future encounters. At the end of the year members of the ensemble presented two songs in a yearly concert held by Centro C.A.M.I.N.O. Theoretical posture. Initially it was decided that the encounters would not be considered under a clinical music therapy framework. Instead, an approach within the field of preventive music therapy and recreation was more appropriate. There were also several theoretical postulates that emerged from a need to support the work that would be done as music therapists. Miguel Materazzis concept of health as a tendency presented by Pellizzari and Rodriguez (2005). Isaac Prilleltenskys sites of wellbeing as well as signs of well-being influenced the perspective of health adopted for this project (2005). The most relevant signs were found within the personal and relational sites. These were the sense of community, empowerment, voice and choice in partnership, affirming partners, empathy and social skills (Prilleltensky, 2005). Elements from Music in Special Education
ISSN: 1610-191X 2014 WFMT. All rights reserved.
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Proceedings of the 14 WFMT World Congress of Music Therapy
July 7-12, 2014 in Vienna/Krems, Austria
written by Adamek were a resource to define
the activities (2005). Additionally some aspects of the clinical musicianship expressed under the Nordoff-Robbins Center for Music Therapy approach were also used (Nordoff, Robbins, Robbins, Turry, Ritholz, Sorel, Howat, Aigen, Braverman & Mahoney, 2011). Techniques and resources. The principal techniques used were: collaborative songwriting, visual queuing, hand signals (similar to those used in the Kodaly method), technological adaptations with headphones and prerecorded melodies, Adaptive Use Musical Instruments (AUMI), group improvisations and relaxational routines (De Castro, 2004). Relevant Findings. Most of the findings were identified and conceptualized from the personal impressions of each therapist documented in the log. Throughout this process, limitations, shifts in perspective and positive qualitative results in each patient were found. The most relevant limitations that were encountered related to technological setbacks, unclear group admission criteria and irregular attendance of some ensemble members. The most valuable findings lay in the shifting of mindsets as it became clear that preventive music therapy in a recreational setting can bring significant changes to participants. For example, a great change in subjective positioning was evident in a member of the ensemble as she demonstrated increased self-confidence and was empowered to share her ideas with the rest of the ensemble; also the interaction among peers increased to the point of not needing the music therapist or caretaker to mediate dialogues, showing signs of empathy and autonomy; during the verbalizations of the last sessions, ensemble members demonstrated clear signs of belonging and a strong sense of community evidenced by the
naming of the ensemble Los Sabadabadu
at the conclusion of the project. Conclusion. The preventive and recreational approach of music therapy in a musical ensemble with special needs youth can bring both valuable and positive changes to those who participate in sessions regularly. Systematization and a clear work methodology will increase the effectiveness of the project and will be reflected on significant changes in the members of the ensemble. References Adamek, M & Darrow, A. (2005) Music in st special education, 1 ed. Silverspring: American Music Therapy Association. Pellizzari, P. & Rodriguez, R. (2005) Salud, escucha y creatividad, 1st ed. Buenos Aires: Ediciones Universidad del Salvador. Nordoff, P., Robbins, C., Robbins C., Turry, A., Ritholz, M. S., Sorel, S. N., Howat, R., Aigen, K., Braverman A. & Mahoney, J. (2011) Clinical improvisation: Expanding musical resources. New York: NordoffRobbins Center for Music Therapy. Prilleltensky, I. (2005) Promoting well-being: Time for a paradigm shift in health and human Services. Scandinavian Journal of Public Health. Vol. 33, 53-60. DOI: 10.1080/14034950510033381 De Castro, R. (2004) Sonido, msica, accin: La msica en el mbito educativo y teraputico. Buenos Aires: Jorge Baudino Ediciones. About the Authors Juan P. Zambonini & Ralf Niedenthal. Professors at the University of El Salvador and music therapist for Centro CAMINO. Email: juanzambo@gmail.com
ISSN: 1610-191X 2014 WFMT. All rights reserved.
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Proceedings of the 14 WFMT World Congress of Music Therapy
Cognilive and Affective Processes in Music Therapy With Individuals With Developmental Delays A Preliminary Model For Contemporary Nordoff-Robbins Practice