Author(s): Songül KARAHASANOÄLU, Cengizhan ÃEVÄ°RME
This article analyzes behavioral, improvisation and creative music therapies- the three major models that have shaped the development of music therapy in the West. The first model, the behavioral music therapy came into existence based on Gaston’s ideas, and Madsen and Cotter’s practices in the US. The behavioral model uses music in order to improve patients’ social interactions and to treat psychological disorders and pathological behaviors. The second one, the free improvisation model which has been developed by Alvin’s studies in the UK applies free-form music to enable patients to actively participate in therapy. This model establishes a musical connection between the patient and the therapist during the therapy, and the improvised music helps the patient express his/her subconscious thoughts. The third model, creative music therapy has been inspired by Steiner’s Anthroposophy philosophy and been developed by Paul Nordoff and Clive Robbins. The creative model has been designed to generate responses to music by the patients with learning difficulties and severe disabilities. Nordoff and Robbins defend the idea that healing through music may happen if a connection with patients is achieved via music, and in line with such perspective, they applied therapies to the children with disabilities and autism. Having contributed to the development of music therapy particularly in the US, Europe and Japan, these three models have a significant place within the field across the world. The healing effects of music on pathological behaviors and the benefits of using music to express oneself and ensuing social interaction on the part of the patient are the main elements of these three music therapy models. Though they differ in terms of their philosophical underpinnings and application techniques, all the three models enable patients to express their negative emotions and thereby try to tap into the healing effects of music through the connection established between the therapist and the patient.
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