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This is the first comprehensive textbook on multicultural dimensions of music therapy. The editors pass the literary microphone to the authors—all music therapists who have found belonging and identity in diverse cultures. The authors examine how music therapy is relevant within an individual’s cultural context through personal and scholarly explorations. The chapters are separated into three sections:

  1. understanding oppression and bias;

  2. minority cultures within North America

  3. inclusive music therapy practice and education.

This focused examination prompts the reader to listen to myriad minority voices and engage in cultural dialogues. Both print and electronic versions available


Culture-Centered Music Therapy

Author : Brynjulf Stige

Humans cannot escape culture. Culture provides the tools humans need to deal with the challenges of everyday life and with the symbolic artifacts they depend upon to communicate and construct their life histories. Culture thus permeates the personalities of therapists and clients, a fact that hardly has been given the attention it deserves in music therapy theory. Culture-Centered Music Therapy explores the implications of taking culture-inclusive perspectives for practice, theory, and research.


Experiencing Race as a Music Therapist: Personal Narratives is a compilation of critically engaging narratives that grew out of conversations with 17 music therapists living in different parts of the world, from various racial groups, about their experiences of their racialized identities in the therapy setting. The music therapists describe the raced and cultural contexts in which they were born and describe the racial demographics of the places they have lived at various times in their lives. The countries in which the individual music therapists spent their formative years include Australia, Canada, Iran, Japan, Korea, New Zealand, Puerto Rico, South Africa, the United Kingdom and the United States, with many of them also having traveled to other countries. The music therapists discussed their specific experiences of their racialized identities when they were studying music therapy and how they experienced their racialized identities in their professional lives. Many of them also described the differences they were aware of in terms of how they experienced themselves as raced or how they experienced the therapeutic relationship when they were working with people of their own race compared with working with people who were from a different race. 


The chapters in Part One have sociological threads that tie them together: the first applies ideas of sociology to the field of music therapy and proposes four principles for a feminist music therapy; the second explores the potential of community music therapy, practiced within a feminist worldview, to free itself from the oppressive potential of therapy, society, and the self, by working with people within the context of their gendered social, cultural, and political environments; the third describes ways in which an ecological worldview can inform all of our actions as ethical human beings; the fourth describes how the ancient Goddess tradition can inform practices of music psychotherapy in general and BMGIM in particular; the fifth describes the centrality of the concept of Han in the lives of Korean women because of their oppressive life circumstances and explores the suitability of music as a form of expression in therapy for Korean women; and the sixth explores the possibilities of feminist music therapy in Taiwan by examining the role of music in healing in the indigenous, Chinese, and western cultural traditions that make up Taiwanese culture as a whole.

The chapters in Part Two examine clinical work from a feminist perspective. The clinical work explored includes music therapy with a West Indian woman who was recovering from a cerebrovascular accident; teenage girls who have been physically and sexually abused; women who have been emotionally, physically, and/or sexually abused; Israeli women who have suffered trauma in their lives; and women suffering from chronic pain.


The chapters in Part Three critically reflect on significant aspects of music therapy: music therapy discourse in terms of the use of mother concepts in music therapy literature and how these contribute to the conservation of traditional expectations of gender roles; song selection and the ways in which both the overt and covert messages in songs can contribute to the ways clients view themselves and/or their attitudes about and behaviors toward women; the branding of separate approaches to music therapy as a result of the competitiveness that grew out of the rise of capitalism; and, issues of representation of women in music, in healthcare, and in music therapy.

Finally, the chapters in Part Four focus on specific areas of training in music therapy from a feminist perspective including pedagogy, supervision, assessment, research, and ethics. 2006 (2006,  500 pages).


This book draws upon pop culture and music to explore the phenomenon of male violence against women that is so prevalent today. Examining this in conjunction with the latest research findings, it provides a feminist understanding not only of this violence, but also of the meaning of gender and its impact in women’s lives in terms of their health and wellbeing, self-esteem, empowerment, and love. The book is intended for music therapists, other health care professionals, and the women survivors of violence with whom they work. It is also intended for women as a whole since these issues impact so many. Taking advantage of the incredible powers of music to heal and facilitate change, this interactive e-book is packed with diverse pop music (audio & video) and guided readings. Its format provides easy access for listening and reading—for therapy or outside work.

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The definitive work on the profound and surprising links between manic-depression and creativity, from the bestselling psychologist of bipolar disorders who wrote An Unquiet Mind.

One of the foremost psychologists in America, “Kay Jamison is plainly among the few who have a profound understanding of the relationship that exists between art and madness” (William Styron).

The anguished and volatile intensity associated with the artistic temperament was once thought to be a symptom of genius or eccentricity peculiar to artists, writers, and musicians. Her work, based on her study as a clinical psychologist and researcher in mood disorders, reveals that many artists subject to exalted highs and despairing lows were in fact engaged in a struggle with clinically identifiable manic-depressive illness.


We are surrounded by new musical encounters today as never before, and the experience of musics from elsewhere is progressively affecting all arenas of the human conscience. Yet why is it that Western listeners expect a certain cultural and ethnic 'authenticity' or 'otherness' from visiting artists in world music, while contemporary musicians in Western music are no longer bound by such restraints? Should we feel uncomfortable when sacred rites from Asia or Africa are remade for Westerners as musical entertainment? As these thorny questions suggest, the great flood of world musics and of their agents into our most immediate cultural environment is not a simple matter of expanding global musical exchange. Instead, complex processes are at work involving the growth of intercontinental tourism, the development of new technologies of communication and our perceptions both of ourselves and of the new musical others now around us. Elegantly tracing the dimensions of these new musical encounters, Laurent Aubert considers the impact of world musics on our values, our habits and our cultural practices. 


In perceiving all rap and hip-hop music as violent, misogynistic, and sexually charged, are we denying the way in which it is attentive to the lived experiences, both positive and negative, of many therapy clients? This question is explored in great depth in this anthology, the first to examine the use of this musical genre in the therapeutic context. The contributors are all experienced therapists who examine the multiple ways that rap and hip-hop can be used in therapy by listening and discussing, performing, creating, or improvising.

The text is divided into three sections that explore the historical and theoretical perspectives of rap and hip-hop in therapy, describe the first-hand experiences of using the music with at-risk youth, and discuss the ways in which contributors have used rap and hip-hop with clients with specific diagnoses, respectively.


The first three chapters cover the social context of the relationship, the inherent power differential that delineates the relational boundaries, and professionals’ difficulty with managing that power appropriately. Also discussed are the four characteristics of a boundary violation—a reversal of roles, a secret, a double bind, and an indulgence of professional privilege—and the damage to the client.

Throughout the book, clients share their stories of violations—sometimes blatant, often subtle—in relationships. These vignettes, along with Peterson’s engaging style, transform ethics from dry, abstract, and theoretical principles to vital struggles to understand and appropriately manage
power with clients.


A thorough exploration of professional ethics for the music therapist. Topics covered include: the music therapist as professional and person; clients' rights and therapists' responsibilities; confidentiality; boundaries and dualrelationships; multicultural and gender perspectives; research and publication; financial and advertising issues and responsibilities to the public; responsibilities to colleagues, employees, employers, and the professional association; educationand supervision; and promoting ethical behavior.


White people in North America live in a social environment that protects and insulates them from race-based stress. This insulated environment of racial protection builds white expectations for racial comfort while at the same time lowering the ability to tolerate racial stress.  Although white racial insulation is somewhat mediated by social class (with poor and working class urban whites being generally less racially insulated than suburban or rural whites), the larger social environment insulates and protects whites as a group through institutions, cultural representations, media, school textbooks, movies, advertising, and dominant discourses. Racial stress results from an interruption to what is racially familiar. In turn, whites are often at a loss for how to respond in constructive ways., as we have not had to build the cognitive or affective skills or develop the stamina that that would allow for constructive engagement across racial divides. leading to what I refer to as White Fragility. White Fragility is a state in which even a minimum amount of racial stress becomes intolerable, triggering a range of defensive moves. These moves include the outward display of emotions such as anger, fear, and guilt, and behaviors such as argumentation, silence, and leaving the stress-inducing situation. These behaviors, in turn, function to reinstate white racial equilibrium. This book explicates the dynamics of White Fragility and how we might build our capacity in the on-going work towards racial justice.


How to Be an Antiracist

Author : Ibram X. Kendi 

Antiracism is a transformative concept that reorients and reenergizes the conversation about racism—and, even more fundamentally, points us toward liberating new ways of thinking about ourselves and each other. At it's core, racism is a powerful system that creates false hierarchies of human value; its warped logic extends beyond race, from the way we regard people of different ethnicities or skin colors to the way we treat people of different sexes, gender identities, and body types. Racism intersects with class and culture and geography and even changes the way we see and value ourselves. In How to Be an Antiracist, Kendi takes readers through a widening circle of antiracist ideas—from the most basic concepts to visionary possibilites—that will help readers see all forms of racism clearly, understand their posionous consequences, and work to oppose them in our systems and in ourselves.

Kendi weaves an electrifying combination of ethics, history, law, and science with his own personal story of awakening to antiracism. This is an essential work for anyone who wants to go beyond the awareness of racism to the next step: contributing to the formation of a just and equitable society.


In a time when nearly all institutions (schools, churches, universities, businesses) claim to value "diversity" in their mission statements, I'M STILL HERE is a powerful account of how and why our actions so often fall short of our words. Austin writes in breathtaking detail about her journey to self-worth and the pitfalls that kill our attempts at racial justice, in stories that bear witness to the complexity of America's social fabric--from Black Cleveland neighborhoods to private schools in the middle-class suburbs, from prison walls to the boardrooms at majority-white organizations. 

For readers who have engaged with America's legacy on race through the writing of Ta-Nehisi Coates and Michael Eric Dyson, I'M STILL HERE is an illuminating look at how white, middle-class, Evangelicalism has participated in an era of rising racial hostility, inviting the reader to confront apathy, recognize God's ongoing work in the world, and discover how blackness--if we let it--can save us all.


From one of the world’s leading experts on unconscious racial bias come stories, science, and strategies to address one of the central controversies of our time

How do we talk about bias? How do we address racial disparities and inequities? What role do our institutions play in creating, maintaining, and magnifying those inequities? What role do we play? With a perspective that is at once scientific, investigative, and informed by personal experience, Dr. Jennifer Eberhardt offers us the language and courage we need to face one of the biggest and most troubling issues of our time. She exposes racial bias at all levels of society—in our neighborhoods, schools, workplaces, and criminal justice system. Yet she also offers us tools to address it. Eberhardt shows us how we can be vulnerable to bias but not doomed to live under its grip. Racial bias is a problem that we all have a role to play in solving.


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