XII Congreso Mundial de MusicoterapiaDel 22 al 26 de Julio de 2008RESMENES / ABSTRACTS

Organizado por:Asociacin Argentina de Musicoterapia Federacin Mundial de Musicoterapia Universidad de Buenos Aires Facultad de Psicologa de la Universidad de Buenos Aires, Carrera de Musicoterapia

Librera AKADIA Editorial1

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by Librera AKADIA Editorial, 2008 Distribuido y comercializado por: Librera AKADIA Editorial Paraguay 2078 (1121) - Buenos Aires Tel. 4961-8614 / 4964-2230 E-mail: akadia@arnet.com.ar www.editorialakadia.com.ar Hecho el depsito que marca la ley 11.723 Impreso en Argentina - Printed in Argentina

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AUTORIDADES

Comisin organizadora * Gabriela Wagner * Alicia Topelberg * Horacio Crdenas * Mara Fernanda Rodrguez * Gabriel Federico Comisin ejecutiva * Presidencia: Gabriela Wagner * Vicepresidencia: Mara Celia Prez * Secretara General: Karina Daniela Ferrari * Prosecretara: Araceli Onorio - Ana Mercedes Aradas Tesorera * Mauricio Ruiz Protesorera * Gabriel Federico Comisin de prensa y difusin * Virginia Tosto * Julieta Rodrguez * Romina Bernardini * Cecilia Di Prinzio * Oscar Fernndez * Mercedez Ruiz Comisin cientfica * Presidencia: Amelia Ferraggina * Vicepresidencia: Cristina Zamani3

Comisin nacional * Diego Schapira * Ariel Zimbaldo * Patricia Pellizzari * Jorge Montaldo Comisin internacional * Suzanne Hanser * Petra Kern * Cheryl Dileo * Mnika Ncker-Ribaupierre * David Aldridge * Tony Wigram * Anna Fekete * Jrg Fachner * Patricia Sabbatella * Melissa Mercadal * Mariano Bets de Toro * Ferdinando Suvini * Bruno Foti * Magill, Lucanne * Cochavit Elefant * Lia Rejane Mendes Barcellos * Mayra Hugo * Nobuko Saji * Gro Trondalen Comisin de relaciones interiores * Gustavo Gauna * Claudia Mendoza * Julieta Ontiveros * Mara Cristina Olmos * Maria Elena Lopez Vinader * Alfonsina Basutto * Marcia Bustos * Mara Virginia Cicchetti * Judith Martnez * Selva Ayelen Reynoso * Ma. Beln Saborit4

Welcome!Bienvenidos! On behalf of the World Federation of Music Therapy (WFMT) and the Organization and the Executive Committees of the XIIth. World Congress of Music Therapy, I would like to wish you an unforgettable stay. Music, culture, health and sound for all of you! Lets make a toast for music therapy in a world that needs us! Thank you for coming. Thanks to the authorities of the prestigious Buenos Aires University (UBA), School of Psychology, Music Therapy Degree, and the School of Law and its people for their contribution. Thanks to them, to their assistants, colleagues and students who envisioned since the beginning of this project a chance to democratize knowledge within the framework of an international bilingual Spanish-English congress. Without their invaluable support this conference, held in one of the outstanding buildings of our city, would have not taken place. Thanks to the Argentine Music Therapy Association. Founded in 1966, one of its objectives is to hold events to promote information about music therapy. The support of its Directive Committee and members was decisive for this project. Thanks to all those who donated their time and effort. Thanks to the Council of the World Federation of Music Therapy and to its members for the confidence placed in us and for their collaboration in promoting this meeting, where representatives from 35 countries share their experience and knowledge. Thanks for the International Scientific Committees work. This exceptional multicultural group of people have been working to achieve the high level scientific program that we share herein. Thanks for their time and dedication. Great shared and personal dreams became true throughout the time of preparation of this world congress. For the first time in the history of our world congresses we can offer the book records of the presentations during the same conference. For the first time we have representation of publishers from other countries. Also for the first time, we took the financial risk of considering different registration fees for countries with lower annual per capita incomme in order to facilitate the access to knowledge of music therapy to as many people as possible. The World Federation of Music Therapy Council, the Association of Music Therapy Argentina and the Buenos Aires University worked together for it. Thanks also to those who accompanied us with their sponsor and financial support. And thanks to those who prepared our artistic programs. Finally, my personal experience as exchange student was the inspiration for the Music Therapy Hosting Program which became true thanks to the efficient dedication of colleagues and students. Thanks for making it possible. Beacuse of the lack of space available I am not able to include their names. Please read carefully our program in order to identify each of them. After 34 years of the 1st. World Congress of Music Therapy held in Paris, 32 years from the 2nd one, held here in Buenos Aires, and after 25 years from the first world congress organized by the WFMT in Spain I would like to thank everyone who shared our enthusiasm, working for a project that goes beyond cultural boudaries. Hoping to collaborate for a better world where people can interact harmoniously with others and with our habitat I welcome you. Bienvenidos!! Gabriela Wagner Chair World Federation of Music Therapy XIIth. World Congress of Music Therapy5

Bienvenidos! Welcome! En nombre de la Federacin Mundial de Musicoterapia (WFMT) y de los Comits Organizador y Ejecutivo de este XII Congreso Mundial de Musicoterapia, quisiera desearles una estada inolvidable. Msica, cultura, sonido y salud, para todos! Brindemos por la musicoterapia en un mundo que nos necesita! Gracias a ustedes por estar aqu. Gracias a las autoridades de la prestigiosa Universidad de Buenos Aires (UBA), Facultad de Psicologa, Carrera de Musicoterapia, y Facultad de Derecho y su gente por su contribucin. Gracias a los directivos, administrativos, colegas y estudiantes que vislumbraron desde los comienzos de este proyecto, una posibilidad de democratizar conocimientos en el marco de un congreso internacional bilinge, Espaol-Ingls. Sin su invalorable apoyo, este congreso no podra realizarse, menos an siendo la sede del congreso mundial uno de los edificios ms destacados de nuestra ciudad. Gracias a la Asociacin Argentina de Musicoterapia. Fundada en 1966, uno de sus objetivos es la realizacin de eventos que promuevan informacin acerca de la musicoterapia. Fue decisivo el apoyo de su Comisin Directiva y de sus asociados. Gracias para todos aquellos que donaron su tiempo y esfuerzo. Gracias a los miembros del Consejo de la Federacin Mundial de Musicoterapia y a todos sus miembros asociados, por la confianza depositada en nosotros y por difundir este encuentro en donde representantes de 35 pases compartirn su experiencia y conocimientos. Gracias por el trabajo del Comit Cientfico Internacional. Este grupo de personas excepcionales han colaborado desde diferentes lugares para poder ofrecerles un congreso con un alto nivel de programa cientfico. Gracias por el tiempo y la dedicacin. Grandes sueos compartidos y personales se hicieron realidad a lo largo de este tiempo de preparacin de este congreso mundial. Por primera vez en la historia de nuestros congresos mundiales podemos ofrecer el libro de actas con los trabajos presentados durante la misma conferencia. Por primera vez tendremos contacto directo con editoriales de otros pases. Tambin por primera vez, nos arriesgamos a tener en cuenta las diferencias de poder adquisitivo de los pases en desarrollo de menor ingreso anual ofreciendo inscripciones diferenciales. La Federacin Mundial de Musicoterapia, la Asociacin Argentina de Musicoterapia y la Universidad de Buenos Aires, han trabajado juntos para permitir el acceso al conocimiento de la musicoterapia a la mayor cantidad de personas posibles. Gracias a los que nos acompaaron con sus auspicios y apoyo econmico. Y, gracias a quienes prepararon nuestros programas artsticos. Finalmente, mi experiencia personal de intercambio estudiantil fue la inspiracin para el Programa de Musicoterapeutas Anfitriones que fue organizado con dedicacin y eficiencia de colegas y estudiantes. Gracias por hacerlo posible. Claro est que el espacio a mi disposicin no me permite incluir sus nombres pero los invito a leer con cuidado nuestro programa para identificar a cada uno de ellos. A 34 aos del 1er. Congreso Mundial de Musicoterapia realizado en Pars, a 32 del 2do realizado aqu en Buenos Aires, y a 25 aos del primer congreso mundial organizado por la Federacin Mundial de Musicoterapia en Espaa, quiero dar gracias a todos los que aunaron su entusiasmo por un congreso que trascienda culturas, para focalizar nuestra mirada en los otros que necesitan de nuestra profesin. Con la esperanza de colaborar por un mundo mejor en donde podamos interactuar armoniosamente entre nosotros y con nuestro hbitat, les doy la bienvenida. Welcome! Gabriela Wagner Presidente Federacin Mundial de Musicoterapia XII Congreso Mundial de Musicoterapia6

PRESENTATIONIn brief words, we give today a warm welcome to all the colleagues from inside and outside the country converge here convened by the desire to participate and contribute to this XIInd World Congress of Music Therapy. We sincerely thank the Buenos Aires University, by opening gates of the Law Faculty, one of its most beautiful venues. A special recognition to the co-organizers of this Congress: Music Therapy Career owned by The Psicology Faculty, Argentina partneship of Music Therapy and to the World Federation of Music Therapy. Thank you indeed. The public universities and the Professionals Associations are formed instead of building our identity and responsibilities as music therapist. The joint work of the UBA, ASAM and the WFMT both in organizing and in scientific terms, are a sign of plurality. Unification does not mean homogenizing, and the differences have enriched us. A Congress so high level, is achieved only when the wills joined after the joint objective. This event far exceeds our expectations: 1200 registers, 533 papers in varius formats, attendees from 35 countries, 18 simultaneously room-meetings during 5 consecutive days. As for the scientific quality of the presentations, we are confident that also surprised us with news of the first level. We are been visiting with colleagues and recognized broad experience in the various applications of music therapy, and also reserve a place for students and young professionals who will show their developments. A commitment by internal discipline grows with the theory, practice, research and joint effort, with the opening of new fields and dialogue among colleagues. It strengthens by external recognition, through exchanges with other professionals, to thus move into the social imaginary The desire today is to open a space in these halls listening and respect that promote learning. We invite you to join our voices in the polyphony more fruitful to continue to resonate beyond this XIInd World Congress of Music Therapy, which begins here ... Thank you very much. Lic. Alicia Topelberg Coordinadora Acadmica de Musicoterapia Facultad de Psicologa Universidad de Buenos Aires Presidente ASAM

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PRESENTACIONBreves palabras para darles hoy nuestra ms clida bienvenida a todos los colegas que, desde el interior y el exterior del pas, confluyen aqu, convocados por el deseo de participar y aportar a este XII Congreso Mundial de Musicoterapia. Agradecemos sinceramente a la Universidad de Buenos Aires, por abrirnos las puertas de la Facultad de Derecho, una de sus ms hermosas sedes. Un reconocimiento especial a los co-organizadores del Congreso: la Carrera y Lic de Musicoterapia , perteneciente a la Facultad de Psicologa de la Universidad de Buenos Aires, la Asociacin Argentina de Musicoterapia y la Federacin Mundial de Musicoterapia. Gracias. La Universidad Pblica y las Asociaciones Profesionales se constituyen en lugar de construccin de nuestra identidad e incumbencias como musicoterapeutas. El trabajo conjunto de la UBA, ASAM y la WFMT tanto en la organizacin como en el plano cientfico, son una muestra de pluralidad. Unificar no significa homogeneizar, y las diferencias nos han enriquecido. Un Congreso de tan alto nivel, slo se logra cuando las voluntades se suman tras el objetivo conjunto. Este evento supera ampliamente nuestras expectativas: 1200 inscriptos, 533 ponencias en sus diferentes formatos, asistentes de 35 pases, 18 salas simultneas durante cinco das. En cuanto a la calidad cientfica de las presentaciones, estamos seguros que tambin nos sorprendern con novedades de primer nivel. Nos visitan colegas con amplia y reconocida trayectoria en las diversas aplicaciones de la musicoterapia, y reservamos tambin un lugar para los estudiantes y jvenes profesionales que nos mostrarn sus desarrollos. Una disciplina crece por compromiso interno con la teora, con la praxis, con la investigacin y el esfuerzo conjunto, con la apertura de nuevos campos y el dilogo entre colegas. Se afianza por reconocimiento externo, a travs del intercambio con otros profesionales, para de esta manera, instalarse en el imaginario social. El deseo hoy es abrir en estas salas un espacio de escucha y respeto que favorezcan el aprendizaje. Los invitamos a unir nuestras voces en la ms fecunda polifona para que sigan resonando ms all de este XII Congreso Mundial de Musicoterapia, que aqu comienza...

Muchas gracias. Lic. Alicia Topelberg Coordinadora Acadmica Musicoterapia Facultad de Psicologa Universidad de Buenos Aires Presidente ASAM

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Carta de Bienvenida. Presidente y Vice-Presidente del Comit Cientfico.Estimados colegas de todo el Mundo: Deseamos darles la bienvenida al XII Congreso Mundial de Musicoterapia con la satisfaccin de haber realizado una etapa ms en la historia de nuestra disciplina. Queremos compartir con todos Uds. la alegra de encontrarnos con colegas de todo el mundo, intercambiar ideas, compartir experiencias, encontrar nuevos rumbos metodolgicos y conocer las caractersticas de las prcticas en los distintos pases para poder optimizar la calidad vida de las personas con quienes trabajamos. En la actualidad los equipos de salud no pueden ser concebidos sino a travs de la mirada interdisciplinaria. Creemos que el aporte de los puntos de vista y las concepciones de la musicoterapia que se actualizarn durante los das del Congreso sern fundamentales para el objetivo final de nuestra tarea: reestablecer el equilibrio biopsicosocial de los individuos inmersos en su cultura. Los 23 miembros del Comit Cientfico Internacional colaboraron con seriedad en la tarea de evaluacin, revisando los trabajos presentados, que han sido ms de 500, procedentes de 35 pases del mundo. A ellos nuestro agradecimiento y nuestro clido abrazo. Sin duda, los miembros del comit cientfico han experimentado la satisfaccin del deber cumplido con honestidad e idoneidad profesional. Los integrantes del comit cientfico local hemos preparado un programa con trabajos, mesas redondas, simposios, talleres, sesiones de psters, y sesiones plenarias que nos ofrecer mltiples propuestas, las cuales ejemplifican los cuestionamientos y orientaciones de la prctica contempornea de la musicoterapia. Confiamos y aspiramos a que los participantes de este Congreso, se nutran despus de estos 5 das con alguna mirada nueva, algn recurso impensado, alguna idea original que despierte sus deseos de investigacin adems de la comprobacin de estar en el buen camino como profesional de la Musicoterapia. A todos... bienvenidos a Buenos Aires y a la Argentina!. A todos....gracias por compartir sus conocimientos y experiencias!.

Amelia Ferraggina

Cristina Zamani

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Carta de Bienvenida. Presidente y Vice-Presidente del Comit Cientfico. Estimados colegas de todo el Mundo: Deseamos darles la bienvenida al XII Congreso Mundial de Musicoterapia con la satisfaccin de haber realizado una etapa ms en la historia de nuestra disciplina. Queremos compartir con todos Uds. la alegra de encontrarnos con colegas de todo el mundo, intercambiar ideas, compartir experiencias, encontrar nuevos rumbos metodolgicos y conocer las caractersticas de las prcticas en los distintos pases para poder optimizar la calidad vida de las personas con quienes trabajamos. En la actualidad los equipos de salud no pueden ser concebidos sino a travs de la mirada interdisciplinaria. Creemos que el aporte de los puntos de vista y las concepciones de la musicoterapia que se actualizarn durante los das del Congreso sern fundamentales para el objetivo final de nuestra tarea: reestablecer el equilibrio biopsicosocial de los individuos inmersos en su cultura. Los 23 miembros del Comit Cientfico Internacional colaboraron con seriedad en la tarea de evaluacin, revisando los trabajos presentados, que han sido ms de 500, procedentes de 35 pases del mundo. A ellos nuestro agradecimiento y nuestro clido abrazo. Sin duda, los miembros del comit cientfico han experimentado la satisfaccin del deber cumplido con honestidad e idoneidad profesional. Los integrantes del comit cientfico local hemos preparado un programa con trabajos, mesas redondas, simposios, talleres, sesiones de psters, y sesiones plenarias que nos ofrecer mltiples propuestas, las cuales ejemplifican los cuestionamientos y orientaciones de la prctica contempornea de la musicoterapia. Confiamos y aspiramos a que los participantes de este Congreso, se nutran despus de estos 5 das con alguna mirada nueva, algn recurso impensado, alguna idea original que despierte sus deseos de investigacin adems de la comprobacin de estar en el buen camino como profesional de la Musicoterapia. A todos... bienvenidos a Buenos Aires y a la Argentina!. A todos....gracias por compartir sus conocimientos y experiencias!.

Amelia Ferraggina

Cristina Zamani

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The Color of Us: Music Therapy for Young Children Around the WorldDr. Petra Kern, MT-BVM, MT-BC2. ABSTRACT In this panel, experienced music therapists from South America, North America, Europe, Asia, and Australia will present the current state of practice and research with young children in their part of the world. Learn about cultural values, specific approaches and common application of music therapy with children and families. 3. DESCRIPTION Music therapy has a long tradition in providing services to young children and their families. However, each country and continent has different ways of conducting music therapy, depending on federal regulations, prominent theories, and/or cultural values. In this session, attendees have the opportunity to receive a global perspective of music therapy with young children and their families. This panel will feature music therapy with young children and their families around the world. Internationally acclaimed music therapists of each continent (South America, North America, Europe, Asia, and Australia) with a wealth of clinical and research experience, will present the current status of music therapy with young children in their part of the world. Attendees will learn about demographics, specific settings and applications as well as service delivery models in music therapy of each continent. Background information related to federal regulations, theories and/or cultural influences will be discussed. Panelists will introduce common music therapy approaches applied in their part of the world and give an example from their clinical practice. An overview of prominent research conducted in early childhood will be presented from each continent. The panelists will include multimedia and also engage attendees in a children song/musical activity pertinent of their country. In a discussion followed, the panelists will explore the following questions: 1. 1. What would you like to see happen in the future? 2. 2. How can the international music therapy community learn from each other? 3. 3. How can we increase awareness of the benefits of music therapy for children in this part of the world and/or internationally? Attendees are invited to join in the discussion and will receive a summary of the panelists presentation. 5. OFFICIAL LANGUAGE The language of this panel will be English. 2 G. AUDIOVISUAL NEEDS VCR/DVD Monitor, Audio equipment and LCD Projector for PowerPoint Presentation. Musical instruments will also be needed! H. PRESENTER NAME(S) AND AFFILIATION(S) Dr. Petra Kern, Dipl, Sozpaed., MT-BVM, MT-BC WFMT Secretary/Treasurer, Santa Barbara, California. Renato Tocantins Sampaio, Master in Communication and Semiotics, BMus, MT Universidade de Ribeiro Preto, Brazil Dr. Simon Gilbertson, Dip. M.Th. (NR Lond), Dipl. M.T. (Witten), RMT Nordoff-Robbins Center, Germany Hye Won Chung, MA, MT Chongshin University, Seoul, Korea Anja Tait, RMT Charles Darwin University, Australia I. CONTACT INFORMATION Dr. Petra Kern, MT-BVM, MT-BC 618 De La Vista Avenue Santa Barbara, CA 93103, USA Email: PetraKern@prodigy.net J. MINI-BIOGRAPHY Dr. Petra Kern is the secretary/treasurer of the WFMT. Her work focuses on early childhood, inclusion, and autism. She is the Editor of AMTAs EC Newsletter and coleads the EC Network. Renato Tocantins Sampaio is head of the undergraduate Program and Music Therapy Clinic at Universidade de Ribeiro Preto, Brazil. He worked with children with disabilities in a variety of settings and has published books and article on Music Therapy and Music Education in 11 Brazil and Argentina. 3

Dr. Simon Gilbertson is a music therapist and researcher and has worked with children with disabilities and illness since 1993. His research interests focus on families who have experienced trauma. Hye Won Chung is a PhD candidate at the Sookmyung Women's University, Seoul Korea. She is an instructor and coordinates the Music Plus Program for children at the Chonshin University. Anja Tait, RMT is a clinician, educator and researcher. She was a keynote speaker for the 11th World Congress of Music Therapy. Anja is project leader for ArtStories, an arts-based approach to community engagement and capacity building in Australia.

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PHYSIOLOGIC FOUNDATIONS FOR MUSIC THERAPYDorita S. Berger, MA MT-BC, LCATABSTRACT: Yes! Music affects human behavior. But, why? Much thought is given to what music does in influencing human behavior. The why, and therefore, the how music does it is often omitted from discussion, practice and research. Dorita S. Berger presents a new paradigm suggesting how the aspects and elements of music parallel and interact with those of human physiologic function, which can result in systemic changes. The parallels between specific music elements with those of physiology, are the ingredients that contribute to musics ability to treat various diagnoses. All populations and diagnoses are impacted by the elements of music. Careful targeting of music interventions to address precise physiologic goals, such as in Autism and other diagnoses, can reach beyond the treatment of symptoms, to the treatment of causes of those very symptoms that medicine seeks to alter. Learn about functional adaptation; homeostasis; The Fear Spiral and Sensory Misinterpretation; Entrainment; Audition; and how the application of this information can influence music therapy treatment protocol. FUNDAMENTOS FISIOLOGICOS DE LA MUSICOTERAPIA ABSTRACTO: Si! La msica tiene efectos sobre la conducta humana. Pero, como? Mucho se piensa sobre que tipo de msica influye en la conducta humana. El porque y tambin el como la msica lo hace esta generalmente fuera de discusin, practica e investigacin. Dorita S. Berger presenta un nuevo paradigma acerca de como los aspectos y los elementos de la msica tienen paralelismo e interaccin con la funcin fisiolgica humana, los cuales pueden resultar en cambios sistemticos. El paralelismo entre elementos especficos musicales con los de la fisiologa humana son los ingredientes que contribuyen en la habilidad musical para tratar diversos diagnsticos. Todas las poblaciones y diagnsticos se ven impactadas por los elementos de la msica. Planeando (orientando) cuidadosamente las intervenciones musicales para lograr objetivos especficos en lo fisiolgico, por ejemplo en personas diagnosticadas con Autismo u otros diagnsticos, se puede llegar mas all del tratamiento de los sntomas al tratamiento de la causa de aquellos sntomas que la medicina busca cambiar. Aprender sobre funcin adaptativa; homeostasis; El espiral del Miedo (Fear Spiral) y la falla en la Interpretacin Sensorial; Resonancia (Entrainmen); Audicin; y como la aplicacin de esta informacin puede tener influencia en los protocolos de aplicacin de Musicoterapia

DESCRIPTION OF CONTENT: When music therapy treatment goals are approached from the physiologic perspective, the music therapist can strive to treat many physiologic causes of behaviors while redirecting immediate mal-adaptive physical, emotional and cognitive function. This 2-hour session provides an overview of physiologic function important for music therapy clinicians to consider when treating clients and patients with this acoustic intervention. Sensory systems, information processing, homeostatic set-points, functional adaptation, and the six elements of music are discussed in response to some of the following questions: 1. Functional Adaptation -- we are a self-adaptive animal! What is functional adaptation? 2. Information Processing and Homeostatic Set-Points: What do these terms infer? What role does music play in these? 3. Perception : What do you know, and how do you know it is what you think it is? 4. The Fear Spiral Emotion first, Cognition later. What is the fear spiral? What is musics role in this? 5. Entrainment: Conforming to the elements. types of physiologic entrainment 6. Audition: Did you hear what I heard? What is dimensional hearing? Why does the music therapist need this information? 7. What is Music; What is Therapeutic Music? What is Music Therapy? How do the music elements affect physiologic function? 8. What am I looking at? What do I see? What can this mean? Observing behavior from physiologic perspectives. DESCRIPCION DEL CONTENIDO: Cuando los objetivos del tratamiento de Musicoterapia son pensados desde la perspectiva fisiolgica, el Musicoterapeutica puede tratar muchas causas de la conducta mientras redirige en forma inmediata las funciones maladaptativas fsicas, emocionales y cognitivas. Estas 2 horas se sesin proveer una mirada sobre la fisiologa humana, tan importante para los Musicoterapuetas cuando trabajan con pacientes desde la intervencin acstica. Los sistemas sensoriales, el procesamiento de la informacin, puntos de homeostasis, la funcin adaptativa, y los seis elementos musicales son explicados para responder algunos de los siguientes interrogantes: 1. Funcin Adaptativa -- somos animales auto-adaptados! Que es la funcin adaptativa? 2. Procesamiento de la informacin sensorial y puntos de Homeostasis: Que significan estos trminos? Que rol tiene la msica en ellos? 3. Percepcin: Que sabemos, y Como sabemos que es lo que creemos que es? 4. El espiral de miedo (fear spiral) Primero Emocin, luego Cognicin. Cual es el rol de la msica aqu? 5. Resonar con el ambiente (entrainment): Conformar con los elementos del medio. Tipo de resonancia fisiolgica 6. Audicin: Escuchaste lo que yo escuche? Que es la escucha 13imensional? d Por que el Musicoterapeuta necesita esta informacin? 7. Que es la Msica; Que es lo Terapeutico de la Musica? Que es la Musicoterapia?

Como los elementos de la msica afectan en lo fisiolgico? 8. Que estoy mirando? Que veo? Que puedo entender de lo que veo? Observando la conducta desde la perspectiva fisiolgica.

Dorita S. Berger, MA MT-BC, LCAT 27 Chipmunk Lane Norwalk, CT 06850

203-853-4426 dsberger@mags.net

Dorita S. Berger, MA MT-BC, LCAT PRESENTER BACKGROUND Dorita S. Berger, MA MT-BC, LCAT is a concert pianist, educator and Board Certified music therapist. She conducts an extensive private music therapy practice at her clinic in Norwalk, Connecticut, working with people with PDD, autism, language learning delays, sensory issues and anxiety disorders. She is Visiting Faculty Specialist of the Music Therapy department at Montclair State University in New Jersey, and also provides professional supervision, consultation and therapy services to schools, institutions and professionals throughout her region. In addition to several published articles in peer-reviewed scientific journals, Doritas published books include The Music Effect: Music Physiology and Clinical Applications(with co-author Dr. Daniel J. Schneck); Music Therapy, Sensory Integration and the Autistic Child, both available from Jessica Kingsley Publishers, and Toward The Zen Of Performance: Music Improvisation Therapy For The Development Of Self-Confidence In The Performer. In addition to teaching and clinical work, Ms. Berger, who has recently been nominated for the roster of the Fulbright Visiting Specialists program, is sought after to conduct seminars and lecture/workshops on music and physiologic function at Conferences and Universities internationally.

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TODO PASA Y ALGO QUEDA, PERO LO NUESTRO ES SONAR: PRESENTE Y FUTURO DE UNA EXPERIENCIA CON MUSICOTERAPIA EN UN CENTRO PENITENCIARIO.Pilar Lago CastroABSTRACT/RESUMEN: OBJETIVO DEL TRABAJO El objetivo principal de este trabajo consiste en presentar, en este 12 Congreso Mundial de Musicoterapia cuyo subttulo reza Msica, Cultura, Sonido y Salud, la experiencia, diseo, planteamiento y conclusiones cuasi finales, del desarrollo de un proyecto de investigacin centrado en la utilizacin de la msica como terapia de apoyo y cambio en las conductas de un grupo de internos de uno de los Centros/Establecimientos Penitenciarios de nuestro pas. El tema nos parece lo suficientemente importante como para presentarlo dentro de este foro, ya que nuestra propuesta se centra en varios de los bloques importantes del Congreso. Nos referimos a la utilizacin de la msica como base fundamental de la Cultura y la Salud en un Centro de las caractersticas que aqu aparecen. Nuestra larga experiencia de trabajo en el campo de la musicoterapia, nos ha demostrado su alto valor teraputico razones que justifican nuestro objetivo prioritario, que no es otro que el de utilizar la msica como propuesta de mejora en los largos periodos de obligada soledad a la que los internos se ven sometidos, y como consecuencia lgica, a la aparicin de brotes de conductas especialmente agresivas a las que en muchas ocasiones se ven sometidas las personas que son objeto de nuestra investigacin. JUSTIFICACIN DE LA PROPUESTA Hoy ms que nunca, la msica y ms concretamente su utilizacin como herramienta teraputica, han demostrado su enorme protagonismo en cada uno de los campos de conocimiento en los que se hace presente. Ya nadie discute su poder teraputico, social, educativo, creativo, investigador, etc. Por esta razn entre otras, nos parece de justicia sealar que, el proyecto de investigacin que acabamos de terminar y hemos realizado a lo largo de ms de cuatro aos, ha demostrado que la prctica y desarrollo de este tipo de terapia en una institucin de las caractersticas como la comentada es fundamental, tanto en su utilizacin teraputica dentro de la institucin, como en su uso para la preparacin hacia el camino de la reinsercin social a la que estas personas tienen derecho. DESCRIPCIN DEL OBJETO DE ESTUDIO Como ya hemos comentado anteriormente, nuestro Proyecto de Investigacin se ha desarrollando con un grupo de internos, que de manera voluntaria quisieron formar parte del trabajo. Adems, contamos con un grupo de control con el mismo nmero de participantes y caractersticas muy similares, que al finalizar nuestra investigacin nos han permitido valorar y demostrar algunas de nuestras hiptesis de partida. Todos ellos, se encuentran cumpliendo penas de diferente duracin y por motivos muy distintos, ya que algunos son internos preventivos, otros ya tiene condena, y otros estn a la espera de ser trasladados a otra institucin para terminar de cumplir el resto de la sentencia. Dadas las caractersticas y peculiaridades del Centro Penitenciario en el que estuvimos llevando a cabo nuestra experiencia, nos vimos obligados a desarrollar nuestra tarea de manera muy especial. Por ejemplo, no toda la institucin entenda y aceptaba de igual forma nuestro proyecto y la metodologa utilizada para su desarrollo. Estas pequeas diferencias nos obligaron a disear y elaborar un programa muy especfico, en algunos casos, casi personalizado. DISEO DE MATERIALES Y MODELO DE TCNICAS UTILIZADAS Es importante destacar que, uno de los aspectos ms importantes de nuestro proyecto se centraba en el diseo y elaboracin de una serie de materiales indispensables para el ptimo desarrollo de la investigacin. Para ello, tuvimos que disear primero y elaborar despus, una serie de protocolos personalizados, al igual que algunas de las tareas y actividades propuestas a cada interno. Igualmente, las tcnicas utilizadas se centraron mucho en cada grupo, y tambin el tipo de sesin de musicoterapia que realizamos (individual y/o grupal). El estado emocional de los participantes, tambin fue uno de los factores que nos oblig a cambiar o adaptar en ms de una ocasin el desarrollo de una sesin, pero fundamentalmente nuestras actividades siempre utilizaron tcnicas de tres tipos: Activas, pasivas y mixtas. Finalmente y a la vista de los resultados, hoy podemos presentar un panorama de futuro mucho ms esperanzador que el hace cuatro aos atrs. A travs de nuestra iniciativa y el desarrollo de nuestra investigacin, han nacido propuestas de carcter cultural, ldico y social, que modifican sustancialmente el panorama de la institucin, lo que nos llena de alegra y satisfaccin. AUTORA: Doctora Pilar Lago Castro. Profesora Titular de Didctica de la Msica y Musicoterapeuta. UNED. Espaa. Pilar Lago Castro. Doctora en Ciencias de la Educacin. Licenciada en Piano, Canto y Pedagoga Musical. Diplomada en Pedagoga Teraputica, Musicoterapia y Danzaterapia, etc. Es profesora titular de Didctica de la Educacin Musical y Musicoterapia en el Dto. Didctica, Organizacin Escolar y DDEE de la Facultad de Educacin de la Universidad Nacional de Educacin a Distancia (UNED). Directora de los Cursos de Postgrado a Distancia: "Msica y salud: introduccin a la Musicoterapia" y "Didctica de la Educacin Musical-Lo que sea sonar" de la mencionada Universidad. Directora de los Cursos de Doctorado: Pensamiento, fundamento e Investigacin Musical, Educacin Musical On line y Didctica de la Educacin Musical y Musicoterapia, etc. Musicoteraputa en los Centros de Da de la Fundacin "Mara Wolff" y AFAL de Madrid y Alzheimur de Murcia. Profesora invitada a impartir Cursos de Doctorado, Master y Formacin Permanente en Universidades nacionales y extranjeras. Autora de5Materiales Multimedia: Libros, CDs, Cintas-audio, Artculos y Vdeos. 1 Programas Radiofnicos y de Televisin Educativa con temas sobre Educacin-Didctica Musical y Musicoterapia, emitidos a travs de Radio Nacional de Espaa y TVE-2 en la franja horaria destinada a nuestra Universidad.

CENTRO DE TRABAJO: Dto. Didctica, Organizacin Escolar y DDEE. Universidad Nacional de Educacin a Distancia (UNED) Edificio de Humanidades. C/ Senda del Rey, 7. Dcho.123. 1 Planta. 28040 Madrid. Espaa. Telfono: 0034 91 3986973 E-mail: plago@edu.uned.es

TITLE: EVERYTHING PASSES AND SOMETHING REMAINS, BUT OURS IS TO SOUND: THE PRESENT AND FUTURE OF AN EXPERIENCE WITH MUSIC THERAPY IN A PRISON

ABSTRACT: OBJECTIVE ABSTRACT/SUMMARY OF OUR CONTRIBUTION

The primary aim of this paper is to present the experience, design, posture and almost-final conclusions of a research project on the use of music as support therapy and behavior change in a group of inmates at one of our countrys penitentiaries. The subject strikes us as important enough to present at this 12th World Congress of Music Therapy dedicated to Music, Culture, Sound and Health, as our proposal centers on the use of music as an essential basis for Culture and Health in a penitentiary center such as the one we describe here. Our long experience working in the field of music therapy has demonstrated its high therapeutic value, thus justifying our primary objective which is none other than to use music as a means for therapeutic improvement during the long periods of forced solitude to which the inmates find themselves subjected, as well as for the outbreaks of especially aggressive behavior which many of the individuals included in our study also often experienced.

JUSTIFICATION OF THE PRESENTATION (PAPER) Today more than ever, music and more specifically its use as a therapeutic tool has shown its centrality in each one of the fields of knowledge in which it appears. No one argues its therapeutic, social, educational, creative, and intellectual power any more. For this reason, among others, it only seems right to us to point out that the research project we have just completed and have carried out for more than four years has shown that the practice and development of this kind of therapy in an institution with the characteristics such as we have commented is fundamental, both in its therapeutic use within the institution, and also in its use as preparation towards the reintegration into society that these individuals are entitled to.

DESCRIPTION OF THE OBJECT OF STUDY As we have commented before, our Research Project was developed with a group of inmates who voluntarily chose to take part in the study. We also had a control group with the same number of participants and similar characteristics that at the end of our research allowed us to assess and demonstrate some of our initial hypotheses. All of the subjects are serving terms of different lengths and for different reasons; some are preventive prisoners and others are already serving their sentences, while still others are waiting to be moved to another institution to complete their prison term. Give the characteristics and peculiarities of the Penitentiary Center where we carried out the study, we were obliged to develop our activity in a very special way. For example, not everyone at the institution understood and accepted our project and the methodology we used in the same way. These small differences obliged us to design and elaborate a very specific and in some cases almost personalized program. DESIGN OF MATERIALS AND MODEL OF TECHNIQUES USED It is important to stress that one of the most important aspects of our project consisted of the design and elaboration of a series of indispensable materials for the optimal development of our investigation. Thus, we had to design first and then elaborate a series of personalized protocols as well as some of the tasks and activities proposed to each inmate. Equally, the techniques used were centered on each group as well as the kind of music therapy session we carried out (individual or group). The emotional state of the participants was also one of the factors that obliged us to change or adapt the development of a session on more than one occasion; but basically our activities always used three kinds of techniques; active, passive and mixed. Finally and in view of the results, today we can present a panorama of a much more hopeful future than four years ago. Through our initiative and the development of our study, cultural, leisure and social proposals have been born that substantially change the panorama of the institution, something that fills us with joy and satisfaction.

AUTHOR: PhD Pilar Lago Castro. Professor. UNED. Spain.16

Musicoterapia en la atencin integral del quemadoLic. Gabriela Wagner, Lic. Pedro Bylik, Dr. Fortunato Benam.Resumen: El presente trabajo tiene por objetivo compartir y discutir el rol potencial de la musicoterapia en a atencin de psicotrauma, duelo, ansiedad, dolor, secuelas fsicas y adaptacin cultural temporaria por quemaduras. Se partir de un estudio de caso que da cuenta del tratamiento integral de un joven boliviano de la comunidad aymar de19 aos de edad, vctima de una explosin de gas natural mientras estuvo pescando con su padre y su hermano. Descripcin: Lleg a Buenos Aires debido a la complejidad de sus quemaduras. Fue trado inconsciente a Buenos Aires al CEPAC (Centro de Excelencia para el Quemado). Una vez recuperado, fue alojado en un centro comunitario para el quemado con el objeto de continuar su rehabilitacin fsica y contencin emocional. B. de origen aymar, con poco conocimiento del espaol, crecido en un ambiente y una cultura diferentes a la del equipo interdisciplinario tratante. Su tratamiento fue un desafo y un aprendizaje para todos. Esta presentacin se basa en sus propios recuerdos de las diferentes etapas de su atencin primaria y cuidados del equipo interdisciplinario de profesionales y su tratamiento musicoteraputico. Lo presentado abarca momentos relevantes a partir de su traslado a Buenos Aires, el abordaje quirrgico de sus lesiones, la contencin psicolgica inicial, as como su tratamiento interdisciplinario posterior (Kinesiologa, Psicologa, Terapia Ocupacional, Psicopedagoga, Musicoterapia, Plstica y Artesanas) con el objetivo de favorecer su recuperacin y reintegracin social en Bolivia, su tierra natal. La musicoterapia se torn muy importante no slo para B sino para el equipo y los otros integrantes de la casa comunitaria. . El encuadre predominantemente no verbal sonoro-musical contribuyo en su adaptacin creativa a una situacin nueva e imprevista marcada por la transculturacin temporal y el duelo por lo perdido. A partir del reconocimiento de su identidad cultural sonoro musical, de su ambiente sonoro habitual, de sus tradiciones musicales comunitarias y la seleccin de instrumentos musicales de acuerdo a sus necesidades y posibilidades, pudo colaborar en su recuperacin fsica, psicosocial y espiritual. Su paso por la institucin fue una leccin acerca de como una situacin de crisis puede convertirse en nuevas oportunidades. Referencias bibliogrficas: Benenzon, Rolando, Gainza, Violeta H. de, Wagner, (2007) Gabriela La nueva musicoterapia Ed. Lumen, Buenos Aries, Argentina Levitin, Daniel J.(2006) This is you Brain on Muisc. The Science of a Human Obsession. Ed. Penguin Books Ltd. Londres, Inglaterra Llins, RodolfoR. (2003) El cerebro y el mito del yo. El papel de las neuronas en el pensamiento y el comportamiento humanos. Ed. Grupo Editorial Norma, Bogot, Colombia Montilla Lpez, Pedro (2003) El cerebro y la msica. Ed. Universidad de Crdoba, Crdoba, Espaa Gabriela Wagner, profesora de Musicoterapia Clnicas e Investigacin en la Universidad del Salvador, Facultad de Medicina, Buenos Aires. Trabaja en el Departamento de Salud Mental del Hospital Universitario de Buenos Aires, Facultad de Medicina, en Departamento de Salud Mental de CEMIC, (Centro de Educacin Mdica e Investigaciones Clnicas) y en la Fundacin Dr. F.Benam para el Quemado y en la Fundacin Benenzon de Bs. As. Fue presidente y es miembro de ASAM, Asociacin Argentina de Musicoterapia y es Presidente de la Federacin Mundial de Musicoterapia. Email: gwagner@fibertel.com.ar

Music Therapy in the Comprehensive Care of Burn Patients Paper: Lic. Gabriela Wagner, Lic. Pedro Bylik, Dr. Fortunato Benaim. Abstract This paper`s purpose is to share and discuss the potetial role of music therapy in the treatment of psicotrauma, mourning, anxiety, pain, physical impairment and cultural adjustment. It is part of a case study made by an interdisicplinary health team which worked with him for 9 months. B., a 19 years old Bolivian man from the Aymar community was victim of a gas explosion while he was fishing with his father and brother. He was treated at the Fundacin del Quemado Dr. Fortunato Benam. Description: B., came to Buenos Aires due to the complexity of his injuries. He was brought unconsious to CEPAC (Centro de Excelencia para el Quemado) and once he recovered enough he was hosted in a community house for burned poeple for his psysical rehabilitation. and emocional holding. B., is an Aymara boy with little knowledge of Spanish, grown up in different enviroment and culture than the interdisciplinary health team members. His treatment was a challenge and an opportunity of learning for the entire rehabilitation team. This presentation is based on his memories about the different stages of his care, and his music therapy treatment. We will present the surgical approach of his injuries, the initial p17 chological holding he needed and briev reference to the subsequent sy interdisciplinary treatment (Kinesiology, Psychology, Occupational Therapy, Music Therapy, Artherapy) in order to promote the patient`s recovery and social reintegration in Bolivia, his homeland.

Music Therapy became importan not only to the patient but also to the health team and the others who lived at the comminity house. The predominantly non verbal frame of Music Therapy contributed to his creative social adaptation to a new an unexpected situation of temporary transculturation and affliction. The recognition of his sonorous-musical identity, of the sonorous enviroment he was used to, his community musical traditions and the selection of musical instruments according to his needs and possiblities collaborated in his physical, psycosociological and spitirual recovery. Getting to know him was a lesson of how a crisis can become an opportunity. References: Benenzon, Rolando, Gainza, Violeta H. de, Wagner, (2007) Gabriela La nueva musicoterapia Ed. Lumen, Buenos Aries, Argentina Levitin, Daniel J.(2006) This is you Brain on Muisc. The Science of a Human Obsession. Ed. Penguin Books Ltd. Londres, Inglaterra Llins, RodolfoR. (2003) El cerebro y el mito del yo. El papel de las neuronas en el pensamiento y el comportamiento humanos. Ed. Grupo Editorial Norma, Bogot, Colombia Montilla Lpez, Pedro (2003) El cerebro y la msica. Ed. Universidad de Crdoba, Crdoba, Espaa Gabriela Wagner, is Professor in Clinical Music Therapy and Research at the Universidad del Salvador, Faculty of Medicine, Buenos Aires, Argentina. Former Head of the Music Therapy Training program, she teaches in graduate and postgraduate courses. She also works at the Department of Mental Health at the University Hospital at the School of Medicine of the University of Buenos Aires. at the Psichiatry Department of CEMIC (Medical Education and Clinical Research Centre) and Dr. F. Benam Fundation for the Burned. She is former President and member of the Argentine Association of Music Therapy. She is President of the World Federation of Music Therapy. Email: gwagner@fibertel.com.ar

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HARMONIC CHANT AND MUSICAL RECOVERED ARCHETYPES.Raffaele Schiavo - Alberto EzzuABSTRACT An occasion to learn and verify in group the key elements of Overtone Singing and its application in musical, social and therapeutic ambit. A pretext to recover the authentic perception of our innate music-abilities. DESCRIPTION Each sound, individually considered, can be divided into the multiples of its fundamental frequency. This phenomenon can be understood through scientific instruments which enable us to verify how a clearly perceptible frequency is really composed of many other smaller frequencies called harmonics. Even the human voice has its own harmonics, but technological instruments are not necessary to identify their existence. It could be found the way to sing them. The Harmonic Chant technique teachs people about this possibility, making visible the forgotten qualities of the human voice. Because of the resonance, each human face receives only a precise harmonic sequence prefixed by nature. An event which can make itself extraordinarily musicable. So the human species has engraved a precise musical heredity into the living bone-facials cavities. In fact, considering the harmonic sequence as a series of music intervals, it is possible to discover how most of the popular ancient melodies all over the world come from this archetype frequency nucleus. A good harmonic singer emits a double vocal sound at the same time, a diplophony from his own voice. A part of it keeps only one sound, while the other one moves on the harmonics, returning a sort of flute melody on a bourdon: it sounds like the prototype of the bagpipes. The effect is really fascinating and somewhat enchanted. Something of absolutely human: the spirit of music in flesh and blood. * The participants (not more than 30, not less than 10) should wear comfortable clothes, preferably track suits and knee-length socks, and should bring a large mat. * Hand-outs on the lectures will be given to participants. * A welcoming environment is essential to guarantee the success of the workshop. So, good airing, acoustics, lighting are necessary as well as freedom of movement, acoustic isolation from surrounding activities and a hi-fi system with CD player.

BIOGRAPHY RAFFAELE SCHIAVO Eclectic musician, music therapist, expert of early music and overtone singing, he works at national health services, rehabilitation centres, hospitals, schools. His research in oncology and penitentiary is worldwide appreciated. BIOGRAPHY ALBERTO EZZU Musician, music therapist, overtone singing teacher and leader of the Alberto Ezzu Lux Vocal & Instrumental Ensemble. Hes responsible for the training ambit at the Centro Musicoterapia Benenzon Italia.

CONTACT: RAFFAELE SCHIAVO, Viale Teracati 50/B 96100 Siracusa, Italy e.mail: raffaeleschiavo@tin.it website: www.raffaeleschiavo.it ALBERTO EZZU alberto.ezzu@centrobenenzon.it

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THE CREATIVE ADJUSTMENT IN GROUP HARMONIC CHANT. A GESTALTIC KEY OF READING.Giuseppe Sampognaro, Raffaele Schiavo(Istituto di Gestalt Human Communication Center Siracusa, Italy) ABSTRACT The Creativity is a large container of eccentricity, fed by tensions of joys and torments, by shocks of pleasures and pains, by anguishes of collapses and recoveries; they are vital elements from which to learn how to report the in-conscious into the destined form to open new horizons of sense.

DESCRIPTION The Gestalt Psychoterapy focuses the concept of contact in its hermeneutical and clinical vision, meant as intersubjective place in which the Self meets the environment. Making contact, the individual carries a creative adjustement out, because he finds an original and personal modality of attunement with the Other. This process of co-creation is clear inside the collective Overtone Singing Experience, when the single improvisation moulds itself into the meeting with the others, passing through the well distinct phases inside of what the authors describe as Automanaged Formal Structure. The A.F.S. phases show a correlation with the C.W.C. (Contact-Withdrawal Cycle) phases indicated by the Gestalt model: 1. 2. 3. 4. 5. 6. 7. 8. 9. Silence/Confluence; Sounds research/Sensation; Chaos/Directionality; Harmony/Excitation; Improvisation/Action; Trans-mission/Contact; Acme/Final contact (Satisfaction) reabsorption/Withdrawal; silente/Assimiliation.

The transposition in phenomenological/relational ambit of Stern and Trevarthens theories allows to see new motives of adhesion to a music therapy based on an eclectic system, in which the simple predisposition to the imagination, from always suspected characteristic of our psyche, becomes on the contrary the strategic element of researching (ricercare was an ancient synonymous of musical improvisation); therefore, the inevitable appearance of the prototheatre moments becomes privileged container of emotive states and fantasies for that people who, even in front of a crisis, can take the risk to put themselves back in the game.

BIOGRAPHY GIUSEPPE SAMPOGNARO Gestalt Psychotherapist, journalist and writer, he works at Child Neuropsychiatry in Siracusa. Founder of the Italian magazine Esperienze Psicopedagogiche, hes author of Mille mondi: un romanzo terapeutico. BIOGRAPHY RAFFAELE SCHIAVO Eclectic musician, music therapist, expert of early music and overtone singing, he works at national health services, rehabilitation centres, hospitals, schools. His research in oncology and penitentiary is worldwide appreciated. CONTACT: RAFFAELE SCHIAVO, Viale Teracati 50/B 96100 Siracusa, Italy e.mail: raffaeleschiavo@tin.it website: www.raffaeleschiavo.it ALBERTO EZZU alberto.ezzu@centrobenenzon.it

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Musicoterapia y Salud Mental: Algunos aportes del Grupo de Musicoterapeutas CubanosTeresa Fernndez de Juan - Rigoberto Oliva Snchez - Jorge I. Fiallo Salazarte - Idida Mara Rigual Gonzlez Resumen: Se presenta la aplicacin de tcnicas musicoteraputicas con: equinoterapia ante nios con necesidades especiales, en ancianos deprimidos , la elaboracin novedosa de instrumentos aerfonos para aliviar trastornos infantiles y el uso en mujeres violentadas por su pareja en Tijuana , Mxico como modelo piloto para reaplicarla en Cuba. Descripcin de los cuatros trabajos a presentar en el poster: 1- Aplicada desde el 2003 en el Proyecto de Equinoterapia en La Habana , en un grupo de nios de entre 8 meses y 17 aos y con patologas y trastornos como sndrome de down, autismo y parlisis cerebral , se utiliza la equinoterapia en un enfoque integrador combinado con la musicoterapia, lo cual potencia sus efectos rehabilitatorios que se expresan en el proceso de integracin sensorial, pues se agilizan las sinapsis neuronales y las respuestas adaptativas son mejores y ms rpidas, produciendo mejora en ltima instancia en la autoestima, comunicacin, adaptacin y socializacin en el medio, desarrollo de la motricidad y aumento de la capacidad de atencin, aprovechando los movimientos tridimensionales , temperatura corporal y textura del caballo con alcance teraputico habilitatorio y rehabilitatorio. 2- Se exponen los resultados fundamentales de dos investigaciones realizadas en casi una dcada en ancianos de dos comunidades de la Habana ante la aplicacin de tnicas musicoteraputicas diversas utilizando instrumentos y msicas autctonas cubanas, y cmo se beneficiaron disminuyendo significativamente estados depresivos y otros trastornos del estado de nimo, favoreciendo la socializacin, la adquisicin de nuevas habilidades, los espacios recreativos e incluso otros sntomas de tipo psiofisiolgico que proporcionaron el descenso psicofarmacolgico. 3- Explicitando la construccin artesanal de tres instrumentos musicales aerfonos se pone en evidencia sus posibilidades teraputicas sin desgaste de grandes recursos lo cual coadyuva a su internacionalizacin a bajo costo para aplicacin masiva en comunidades de bajos recursos. Por ejemplo con la flauta sin huecos, variando delicadamente la presin del soplo se cambia de un sonido al siguiente, lo cual ayuda a regular el tono muscular del diafragma y la musculatura intercostal durante la espiracin y favorece la concentracin y relajacin Y las ocarinas de construccin escalonada ofrecen posibilidades participativas y desarrollo de capacidades potenciales en casos con retardo. Slo tapar y destapar un agujero soplando rtmicamente, en un salto de cuarta, crea un pedal de tnica. Alternando con dos agujeros se obtiene la cuarta y la quinta, un ambiente de dominante-tnica que favorece mayor desempeo musical y ms conexiones neuronales. 4- A lo largo del ltimo trabajo expone la aplicacin de tcnicas de musicoterapia en mujeres violentadas por su pareja y que acudieron voluntariamente a denunciar su problemtica en el DIF de Tijuana, Mxico. En ellas se apreciaba al inicio del tratamiento: una baja autoestima, sntomas de depresin y una ansiedad elevada , mismas en las que se constat un cambio muy positivo al finalizar el nmero de sesiones de trabajo teraputico-investigativo. Por tratarse de un estudio en poblacin piloto y en plan experimental, se exponen los resultados fundamentales con el objetivo de comenzar el proceso de validacin de sus efectos para este tipo de situaciones y su implementacin en Cuba. Nombre y datos del autor o autores (Mini-biografa de los presentadores): 1. Teresa Fernndez de Juan.: Dra. en Ciencias Psicolgicas por la Universidad de la Habana, Cuba, (con la tesis sobre efectos a nivel cerebral de selecciones musicales bajo los ppios del ISO aplicadas a pacientes ingresados por ansiedad). Especializacin en Musicoterapia por el Conservatorio de Msica de Ro de Janeiro, Brasil, Coordinadora de la Primera Maestra de Musicoterapia en Cuba y del Grupo de Musicoterapeutas Cubanos, Miembro fundador del CLAM y actual Secretaria del mismo, pasante de Maestra en Musicoterapia en la Habana, Investigadora Titular C y Profesora de Doctorado de El Colegio de la Frontera Norte, Baja California, Mxico. Autora de varios libros, captulos y artculos sobre de investigaciones acerca de musicoterapia publicadas en ms de una decena de pases. 2. Dr. Rigoberto Oliva Snchez: MD, MSc, Doctor en Medicina por la Facultad de Medicina de la Habana, Cuba, Master en Longevidad Satisfactoria, Mdico Residente de Psiquiatra del Hospital Clnico Quirrgico 10 de Octubre, Profesor Asistente Adjunto a la Facultad de Psicologa de la Universidad de La Habana , Instructor Adjunto al Instituto Superior de Arte de La Habana, Especialista con Maestra en Tratamientos en Ancianos utilizando tcnicas de musicoterapia, autor de dos artculos internacionales sobre este tema. 3. MSc. Jorge I. Fiallo Salazarte: Licenciado en Msica (Musicologa) del Instituto Superior de Arte de la Habana, Cuba, Nivel Medio de Guitarra en la Escuela Nacional de Arte, estudios adicionales de fagot , arpa y piano , post-grados en Filosofa, Esttica, Etnologa, Periodismo, Semiologa y Sociologa Musical en Cuba. Mster en Artes, y Mencin en Msica, autor de varios artculos sobre musicologa, tutor de tesinas sobre aspectos musicoteraputicos y maestro de asignaturas afines en Mxico. Actual Investigador del Centro de Investigacin y Desarrollo de la Msica Cubana. 4. Lic. Idida Mara Rigual Gonzlez: Clarinetista graduada en el Instituto Superior de Arte, Lic en Idioma Francs en el Instituto de Lenguas Extranjeras de Cuba, Miembro fundador y activo de la Sociedad de Equinoterapia de Cuba, con grandes relaciones con las Sociedades internacionales sobre el tema, invitada a cursos internacionales sobre equinoterapia y arteterapia, y Maestrante con la Tesis Sistema de Activides de estimulacin en jvenes autistas uniendo tcnicas musicoteraputicas con la equinoterapia. Contacto: Teresa Fernndez de Juan, Calle H, No. 510 , entre 21 y 23, Vedado, Municipio Plaza, Ciudad de la Habana, Cuba. CP:10 400 , Tel: (537) 8321378, emails: teresaf@colef.mx y robade@casa.cult.cu .21

Musictherapy and Mental Health: Somes works of Cuban Musictherapist Group.

Abstract:: In these works it shows musictherapy technic applications with: horsetherapy for children who need special treatments, to depressed elders, construction of airphones musical instruments to release children disorders and theire employment in abused women in Tijuana, Mexico, as a pilot model in order to aplied in Cuba.

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Riamos y Juguemos! Nios con Autismo Exploran Msica, Creatividad y Humor Lets Laugh and Play! Children with Autism Explore Music, Creativity and Humour/Ann Lehmann - Janet AndrewsRelated Conference themes: Music Therapy within the Social Realm; Music Therapy and specific procedures in Pervasive Developmental Disorders and Autism Spectrum; and Music Therapy Research ABSTRACT Lets Laugh and Play! Children with Autism Explore Music, Creativity and Humour Children with autism can engage in experiences of spontaneity, creativity and humour through improvisational music therapy. In this one year study, a reversal design was utilised to evaluate the effectiveness of specifically focusing on developing humour and creativity in music therapy sessions with thirteen high functioning children with autism. Riamos y Juguemos! Nios con Autismo Exploran Msica, Creatividad y Humor Nios con autismo pueden involucrarse en experiencias de espontaneidad, creatividad y humor a travs de musicoterapia improvisacional. En este estudio de un ao de duracin, se utiliz un diseo reversivo para evaluar la efectividad de un enfoque humorstico y creativo en sesiones musicoteraputicas con trece nios con autismo de alto funcionamiento. DESCRIPTION This clinical research project investigates the correlation between humour, creativity and increased communication, expressiveness and social interaction with high functioning students with autism (aged 7-11 years) in music therapy sessions. Humour can be seen as an individualistic and spontaneous expression of sheer creativity. Creativity involves improvisation, collaboration and communication (Sawyer, 2006). The potential for humour and creativity to help address social relating difficulties in children with autism has been explored over several disciplines including education, drama, speech therapy and psychology. To develop social and communicative interplay, an element of humour often underlies therapeutic intervention. Humour boosts childrens creative thinking capacity and is a basic component of interpersonal competence (McGhee, 2002). Indeed, humour can be seen as the oil that lubricates the childs growing flexibility of thought (Newson, 2000).Within improvisational music therapy, musical humour can encourage warmth, fun and the unexpected and strengthen the connection between the client and therapist (Amir, 2005). In this one year study, thirteen high functioning students with autism were given the opportunity to evolve unique musical responses incorporating humour and creativity in weekly music therapy sessions. A reversal design was utilised, focusing on humour and creativity separately, to evaluate the effect these variables had on students communication, expressiveness and social-relating skills. Quantitative data was collected for each child through a rating scale developed by researchers and qualitative data collected through questionnaires. Findings from this study showed all students made gains in humour skills, imaginative play, variability, self confidence, social relating, autonomy and choice making. Every student was able to develop their own intentionally creative/ humorous responses, with varying degrees of structure required to assist this process. Humour skills and imaginative expression appear to have transferred to other settings (i. e. the classroom and home environment). This study suggests that engaging in acts of humour and creativity in music therapy sessions can help children with autism develop confidence in communication, expressiveness and social-relating skills. Este proyecto de investigacin clnica explora la co-relacin entre el humor, la creatividad y el aumento de comunicacion, expresividad e interaccin social en estudiantes con autismo de alto funcionamiento (de 7 a 11 aos) en un entorno musicoteraputico. El humor puede ser visto como una expresin individual y espontnea de creatividad pura. La creatividad encompasa improvisacin, colaboracin y comunicacin (Sawyer, 2006). El potencial del humor y creatividad para ayudar a nios con autismo a enfrentar dificultades en las relaciones sociales ha sido objeto de exploracin en varias disciplinas, incluyendo educacin, drama, logopedia, y psicologa. En el desarrollo de la interaccin social y comunicativa, a menudo existe un elemento de humor que acompaa la intervencin teraputica. El humor fomenta la capacidad creativa y pensativa del nio y es un componente bsico en su capacidad interpersonal (McGhee, 2002). Por cierto, el humor puede ser visto como el aceite que lubrica la creciente flexibilidad en el pensamiento del nio (Newson, 2000). Dentro de la musicoterapia improvisacional, el humor musical puede promover cordialidad, diversion, lo inesperado, y tambien fortalecer la conexin entre el cliente y el terapeuta (Amir, 2005). En este estudio de un ao de duracin, trece estudiantes con autismo y de alto funcionamiento tuvieron la oportunidad de desarrollar respuestas musicales nicas, incorporando humor y creatividad en sesiones musicoteraputicas semanales. Para este estudio, se utiliz un diseo reversivo, con un enfoque en humor y creatividad por separado, para evaluar el efecto de estas variables en la comunicacin, expresividad e interaccin social de estos nios. Por cada nio, se coleccionaron datos cuantitativos mediante una escala de clasificacin que fue diseada por los investigadores, y datos cualitativos a travs de cuestionarios. Los resultados indican que todos los estudiantes lograron un aumento en su habilidad para expresar humor, juego imaginativo, variabilidad, 2e autoestima, relaciones sociales, autonoma y capacidad de escog3 r. Todos los estudiantes lograron desarrollar sus propias respuestas creativo-humorsticas, requiriendo diferentes grados de estructura para facilitar este proceso. Habilidades humorsticas y expresin imaginativa parecen haber sido transferidas a otros entornos (eg. la sala de clases y el ambiente familiar). Este estudio sugiere que

involucrarse en actos de humor y creatividad en sesiones musicoteraputicas pueden ayudar a los nios con autismo desarrollar confianza en su comunicacin, expresividad y relaciones sociales. Ann Lehmann & Janet Andrews (Nordoff - Robbins Music Therapy Australia) Ann Lehmann & Janet Andrews 5 Palmyra Ave, Thirroul, 2515, NSW, AUSTRALIA annlehmann@idx.com.au

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Closing Songs: Music to facilitate life review, relationship closure and grieving. Canciones de clausura: Musica para facilitar un repaso de vida, cierre de relaciones y penas.Amy Clements-CortsABSTRACT: The role of music in palliative care will be discussed with a specific focus on using music to help patients: grieve losses inherent in dying; facilitate life review; and, in closing relationships both intrapersonal and interpersonal. Case studies and data from a pilot study will be presented alongside narratives to illuminate effective music therapy techniques. El papel de la musica en personas en tratamiento paliativo sera abordado con un enfasis en usar la para ayudar a pacientes: lamentar y entender la perdida al morir; facilitar un repaso de vida; y acceptar un cierre en relaciones intrapersonales e interpersonales. Casos y detalles de un estudio piloto seran presentado con narrativas para demostrar las efectividad que ofrece la musico terapia. DESCRIPTION: According to Periyakoil and Hallenbeck (2002) persons who are dying prepare for their death by mourning the losses implicit in death. This includes mourning separation from loved ones, simple pleasures of life, missed opportunities, and future losses. They also state that the person who is dying often experiences a radial change in self-image that may leave him/her feeling as if he/she has lost a piece of their identity. Music therapists can play an important role in helping clients work through these issues of loss by facilitating the grieving process, helping clients end relationships, and using music to augment life review. Case studies that illustrate this work will be presented focusing on the goals, and treatment processes with clients. The results of a pilot project which involved my examination of the song writing experience with a family member, and a client who wrote an opera of the last ten years of his life will also be presented. Essentially the opera includes songs that end relationships with his first wife; his current wife; his grandson; and himself, and it is a life review of those ten years. Data were collected from several sources including: client composed songs; interviews; and, and my analysis of the music therapy sessions. Narratives will be used to present the results alongside a case study of the music therapy sessions with each client, which functions to provide the audience with background information on each client, descriptions of the music therapy sessions, and my analysis of the therapeutic use of music. Once all the data were collected in each case I coded each source and looked for the themes that ran through them, and subsequently composed a narrative for each based on the themes. Direct quotes from the data sources have been included in each of the narratives. The narratives were then taken back to the clients for verification. Segun Periyakoil y Hallenbeck (2002), personas quienes estan en sus ultimos dias se preparan para su muerte al lamentar las perdidas implicitas al morir. Esto incluye la separacion de los seres queridos, cosas bonitas de la vida e oportunidades perdidas en el pasado y futuro. Ellos tambien dicen que la persona que esta muriendo tambien siente un cambio radical en su propia imagen que la puede dejar con un sentido de perdida de su propia identidad. Musico terapeutas pueden jugar un factor importante al asistir a clientes manejar estos sentimientos de perdida. Tambien pueden ayudarles a terminar sus relaciones personales usando la musica para como un instrumento para hacer un repaso de sus vidas. Estudios de casos que ilustran este trabajo seran presentados enfocandose en las metas y tratamiento con los clientes. Los resultados de un projecto piloto el cual detalla mis experiencias con clientes que escribieron musica y una opera de los ultimos diez aos de sus vida tambien seran expuestas. En sintesis, la opera incluye canciones que concluyen la relacion con su primer esposa, su esposa actual, su nieto y hasta aun con l mismo. A su vez, es un repaso de su vida durante esos diez aos. Informacion fue recolectada de varias fuentes incluyendo : canciones compuestas por clientes ; entrevistas y mi analisis de las sesiones de musico terapia. Narrativos seran usado para presentar los resultados con un estudio de la musico terapia con cada cliente que le dara a la audiencia informacion necesaria de ellos y tambien mi analisis del uso terapeuctico de la musica. Una vez que toda la informacion fue acumulada en cada caso, codifique cada fuente y busque temas de importancia para ellos y pude hacer una narrativa para cada uno de ellos usando los temas. Las narrativas fueron entonces llevadas a los clientes para su verificacion e incluyen referencias directas de cada una de las fuentes. PRESENTER NAME(S) AND AFFILIATION(S): Amy Clements-Corts, MusM, BMT, MTA, Senior Music Therapist Baycrest Centre, Toronto, Ontario Sessional Instructor University of Windsor, Windsor, Ontario Member of CAMT, and AMTA Internship Chair for CAMT MINI BIOGRAPHY OF PRESENTER: Amy Clements-Cortes is the senior music therapist for Baycrest Centre in Toronto, Canada where she works with clients in rehabilitation, behaviour neurology, complex continuing care and palliative care. CONTACT INFORMATION: Amy Clements-Corts, Baycrest Centre Department of Therapeutic Recreation 3560 Bathurst Street

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Toronto, Ontario M6A 2E1 Candada (416) 785-2500, Ext: 2304 (work); (905) 417-4486 (home) aclements@baycrest.org

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Music Therapy with Women Survivors of Intimate Partner Violence: A Feminist PerspectiveElizabeth York - Maureen HearnsAbstract: This presentation explores the relationship between music therapy and feminist ways of working with women who have survived intimate partner abuse. The work is based on a grounded theory approach to qualitative research conducted by the presenters and examines feminist themes that emerged during music therapy and expressive arts interventions. Description: Finding Voice was a research initiative conducted in Logan, Utah, USA. Over an eight month period, the authors conducted music therapy and expressive arts sessions with a total of forty women, members of a support group provided by the Community Abuse Prevention Services Agency (CAPSA). Given the empowering effects of feminism on one of the researchers (feminist activism, undergoing feminist therapy, performing in womens music festivals and concerts), a feminist approach to research and music therapy with these women was undertaken. Hekman (1997) identified a feminist research standpoint as women speaking their truth (cited in Ramazanoglu, 2002, p. 64). Women speaking their truth are situated in relation to forms of powerthat shape their lives; that they can exercise; that constitute what counts as knowledge; that determine whose voices can be heard (p. 65). Feminist goals in therapy defined by Worell and Remer (1992) include: 1) helping clients to trust their own experience and their intuition; 2) enabling clients to appreciate female-related values; 3) assisting women in taking care of themselves; 4) helping women accept and like their own bodies; and 5) defining and acting in accordance with their own sexual needs. A feminist approach to music therapy included vocal work, (literally, finding voice), teaching songs with affirming lyrics written by female singer-songwriters, and analysis of womens musicboth classical and popular music composed by women. Using a grounded theory approach, sessions were audio recorded and transcribed. Transcriptions were analyzed each week for thematic content using a coding procedureintensely analyzing the dataoften sentence by sentence or phrase by phrasecontained in field notes, interviews or other documents (Amir, 1996). Here, the data also consisted of creative materials generated during the sessions including poetry and original song lyrics. This presentation will provide the results of this analysis. Presenters Names/Affiliation/Contact Information Elizabeth York, PhD, MT-BC Director, Music Therapy Program Petrie School of Music Converse College 580 East Main Street Spartanburg, South Carolina, USA 29302 864- 596-9166 (o) 864-596-9167 (f) Elizabeth.york@converse.edu

Maureen Hearns, MaEd, MT-BC Director, Music Therapy Program Utah State University 4015 Old Main Hill Logan, Utah 84322-4015 Mini Biography: Elizabeth York directs the Music Therapy Program at Converse College, South Carolina. She serves on the Education Council, the editorial board of Music Therapy Perspectives, and the AMTA Ethics Board. Maureen Hearns directs the Music Therapy Program at Utah State University, is an AMTA Assembly Delegate, member of the AMTA, Judicial Review Board, and the AMI Professional Development Committee. 1. Ttulo: La terapia de msica con las sobrevivientes de la violencia de un compaero ntimo: una perspectiva feminista 2. Sumario: Esta presentacin explora la relacin ente la terapia de msica y las maneras feministas de trabajar con las mujeres que han sobrevivido el abuso de un compaero ntimo. Se basa este trabajo en un enfoque de grounded theory a la investigacin cualitativa conducida por las participantes y examina los temas feministas que emergen durante intervenciones de terapia de msica y de artes expresivas. 3. Descripcin: Encontrando voz fue una iniciativa investigativa conducida en Logan, Utah, Estados Unidos. Durante ocho meses, las autoras condujeron sesiones de terapia de msica y de artes expresivas con cuarenta mujeres, miembros de un grupo de apoyo 2 (CAPSA). Dado los efectos autorizantes del feminismo en una de la proveido por la Community Abuse Prevention Services Agency 7 investigadoras (activismo feminista, experimentando terapia feminista, ejecutando en festivales de msica y conciertos de mujeres), se emprendi un enfoque feminista a investigacin y a terapia de msica con estas mujeres. Helman (1997) identific la postura investigativa

feminista como mujeres diciendo su verdad (citado en Ramazanoglu, 2002,p. 64). Mujeres diciendo su verdad estn situadas en relacin a las formas de poderque amoldan sus vidas; que pueden ejercer; que constituyen lo que cuenta como conocimiento; que determina cuyas voces pueden ser odas (p.65). Las metas feministas en la terapia definidas por Worell y Remer (1992) incluyen: 1) ayundndoles a las clientes fiarse de su propia experiencia y de su intuicin; 2) facilitndoles a las clientes apreciar los valores femininos; 3) asistindoles a las mujeres en cuidarse de si mismas; 4) ayudndoles a las mujeres aceptar y querer sus propios cuerpos; y 5) definiendo y condujindose de acuerdo con sus propias necesidades sexuales. Un enfoque feminista a la terapia de msica inclua trabajo vocal, (literalmente, encontrando voz), enseando canciones con lrica afirmativa escritas por cantatrices, y anlisis de la msica de mujeresmsica clsica y popular compuesta por mujeres. Empleando un enfoque de grounded theory, las sesiones fueron audio grabadas y transcritas. Se analizaron las transcripciones cada semana para contenido temtico usando un proceso de cdigo analizando intensamente los datosmuchas veces oracin por oracin o frase por fraseencontrados en notas de campo, intrevistas u otros documentos (Amir, 1996). Ah los datos tambin consistan en materia creativa engendrada durante las sesiones incluyendo poesa y lrica original para canciones. Esta presentacin proveer los resultados de este anlisis. 4. Participantes / Afiliacin / Cmo contactar Elizabeth York, Ph.D., MT-BC Directora, Programa de Terapia de Msica Escuela de Msica Petrie (Petrie School of Music) Converse College 580 calle Main este (East Main Street) Spartanburg, Carolina del Sur, Estados Unidos 29302 (South Carolina, USA) 864-596-0166 (oficina) 864-596-9167 (fax) Elizabeth.York@converse.edu Maureen Hearns, MaEd, MT-BC Directora, Programa de Terapia de Msica Universidad Utah State 4015 Old Main Hill Logan, Utah 84322-4015

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Therapeutic songwriting approaches: Findings from an on-line survey of music therapy practitioners.Felicity Baker - Tony Wigram - Katrina McFerranABSTRACT This paper presents the findings of an on-line survey investigating the songwriting practices of 419 music therapy practitioners from 29 countries. The 21 question survey sought information on the therapeutic aims and methods underpinning songwriting across six diagnostic groups: ASD, developmental disability, psychiatry, aged care, oncology/palliative care, and neurorehabilitation. DESCRIPTION Songwriting as a therapeutic intervention has received increasing attention in the field of music therapy over the past decade however the literature focuses predominantly on clinical outcomes rather than methods of practice. This paper presents the findings of an on-line survey which investigated trends in the songwriting practices of 419 music therapy practitioners from 29 countries. The 21 question survey sought information on the frequency of its use in practice, the goals underpinning the songwriting intervention, methods of implementation including context of therapy, number of sessions usually required to create songs, lyric and music creation techniques, and any involvement from other health professionals in the process. Data were compared across six diagnostic groups: ASD, developmental disability, psychiatry, aged care, oncology/palliative care, and neurorehabilitation using Chi-square and Fishers Exact tests. Results suggest that in general, the literature provides good representation for what is occurring in clinical practice although the data highlights that songwriting is frequently employed in developmental disability and ASD practice, with these diagnostic groups being underrepresented in the music therapy literature. The survey identified a) experiencing mastery, develop self-confidence, enhance self-esteem; b) choice and decision making; c) develop a sense of self; d) externalising thoughts, fantasies, and emotions; e) telling the clients story; and f) gaining insight or clarifying thoughts and feelings as the most common goal areas. Generally, songs were composed with individual clients in single sessions, with lyrics created prior to the music. Clinicians had a significant role in creating the music with improvised and pre-determined musical structures being equally employed. The analyses found significant differences across different diagnostic groups particularly with respect the number of sessions required to complete a song, approaches to composing lyrics and music, the context with which songwriting was employed, and the types of allied health professionals involved in the songwriting interventions. Felicity Baker, University of Queensland, Brisbane, Australia Tony Wigram, Aalborg University, Denmark Katrina McFerran, University of Melbourne, Australia

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Crossing Boundaries:Music Therapy Practice in a Multicultural WorldJoseph Moreno - Joe MorenoABSTRACT Music therapy practice in the twenty-first century requires multiculturally developed practitioners.This workshop will focus upon music therapy experiential work in the musics of India and the Afro-American blues.These will serve as models of clinical applications in two distinct world music traditions. DESCRIPTION The twenty-first century age of globalisation requires multiculturally developed music therapists.National boundaries no longer infer cultural homogeneity and music therapists working anywhere must be prepared to work with clients from diverse musical and cultural backgrounds. This workshop will focus upon two distinct musical traditions ,the classical music of India and the Afro-American blues. While it requires prolonged study to master any musical genre,the fundamentals of any music can be learned in a short period.These two musics will serve as models for quick entry into new musical worlds and for creating related music therapy applications.The approaches to musical adaptation presented in the workshop can be applied by music therapists working with clients anywhere. The workshop will begin with an immersion into Indian classical music and present the basic elements of raga and tala.Participants will learn to sing a number of ragas as well as how to follow an eight beat tala.This will be followed by a group performance of a South Indian composition combining raga and tala. Specific music therapy applications to be explored will include group improvisation with raga selected tone bars as well as utilizing the raga structure as a base for personalized song composition. The second part of the workshop will present the basic elements of the blues.This will lead to group singing of the blues,in English and Spanish,as well as demonstrating how personalized blues lyrics can be created from issues shared by group members.Further therapy applications will include group improvisation with blues scale selected tone bars,as well as a group vocal arrangement of a blues with parts for three sections. To exemplify the cross-cultural diversity of music therapy today participants will see a video of a recent blues presentation in China.To bridge the cultural gaps,the participants spontaneously created a traditional Chinese dragon dance to the blues,the first blues dragon dance and a unique melding of two worlds. The workshop will conclude with the presenter sharing some of the challenges and rewards he has experienced in presenting music therapy in more than fifty countries, and a discussion of cultural challenges in music therapy shared by members of the group. Joseph Moreno,Professor Emeritus,Director Moreno Institute for the Creative Arts Therapies,Santa Fe,New Mexico,USA 5.English 6.Joseph Moreno 106 Michelle Drive Santa Fe,New Mexico 87501 USA Phone: 314-229-8598 Email:joem@maryville.edu 7.Joe Moreno is internationally recognized for his work in music and psychodrama as well as his extensive research into indigenous world music and healing traditions. He is author of the book "Acting Your Inner Music:Music Therapy and Psychodrama". 1. TITULO Cruzando Fronteras: Terapia Musical en un Mundo Multicultural 2. ABSTRACTO La prctica de la terapia musical en el siglo veintiuno requiere de practicantes que estn desarrollados en una manera multicultural. Este modo de trabajo se enfocar en la terapia musical del trabajo de experiencia en la msica en India y en los blues del Afro-Americano. Estos servirn como modelos de aplicaciones clnicas en dos mundos musicales distintos de tradicin. 3. TRADICIN El siglo veintiuno, era de globalizacin, requiere de terapeutas musicales desarrollados multiculturalmente. Las barreras nacionales ya no interfieren con la homogeneidad cultural y los terapeutas musicales en cualquier lugar deben de estar preparados para trabajar con clientes de diversidad musical y diferentes antecedentes. Este taller se especificar en dos tradiciones musicales distintas: la msica clsica de India y los blues Afro-Americanos. Mientras se requiere estudios prolongados para dominar cualquier gnero musical, los fundamentos de cualquier tipo de msica pueden ser aprendidos en un periodo pequeo. Estos dos tipos de msica servirn como modelos de rpida entrada a nuevos mundos musicales y para crear nuevas aplicaciones teraputicas de msica relacionadas. Los acercamientos a las adaptaciones musicales presentadas en el rea de trabajo pueden ser aplicadas por terapeutas musicales trabajando con clientes en cualquier lugar. El taller comenzar con una entrada a la msica clsica de India y presentara los elementos bsicos de raga y tala. Los participantes aprendern a cantar un nmero de ragas as como tambin cmo seguir con el octavo tiempo bala. Esto ser seguido por un grupo que presentar una composicin del sur de India combinando raga y tala. Las aplicaciones de terapia musical especficas que deban ser exploradas incluirn grupos improvisando con raga y tone bars seleccionados as como utilizando la estructura del raga como una 30 estructura base para composiciones de canciones personalizadas. La segunda parte del taller presentar los elementos bsicos de blues. Esto guiar a grupos cantando blues, en ingls y en espaol, as como la demostracin de cmo los lricos blues personalizados pueden ser creados por temas compartidos por miembros del grupo.

Aplicaciones teraputicas adicionales incluirn improvisaciones grupales con escala de blues seleccionada en el tone bar, as como un arreglo vocal de grupo de blues con parte para tres secciones. Para ejemplificar la diversidad cultural de la terapia musical hoy en da, los participantes vern un video de una presentacin de blues recientes en China. Para conectar el aliento cultural, los participantes espontneamente crearon un baile de dragn tradicional chino con los blues, el primer baile de dragn con blues y una conexin nica de dos mundos distintos. El taller concluir con el presentador compartiendo algunos de los obstculos y los beneficios que ha experimentados presentando terapia musical en ms de cincuenta pases, y una discusin de las amenazas culturales de la terapia musical compartida por los miembros del grupo. Joe Moreno es internacionalmente reconocido por su trabajo y psicodrama as como sus extensos estudios en el mundo de la msica indgena y las tradiciones curativas. l es el autor del libro Acting Your Inner Music: Music Therapy and Psychodrama

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Music Therapy in End-of-Life Care: University-Community CollaborationsSandra L. Curtis - Lucanne MagillABSTRACT: Collaboration may be one of the most essential tools for healthcare in the new millennium. This presentation outlines the process undertaken by two music therapists from different backgrounds to establish effective collaborations between university and community hospice/hospital programs for successful grantwriting, service provision, and research. An effective collaboration protocol will be outlined, with participants provided opportunity to share ideas and experiences as they work through the protocol. DESCRIPTION: Collaboration may be one of the most essential tools for healthcare in the new millennium. Far more than a mere partnership, it involves a new way of thinking with the creation of new common goals and innovative practices. It offers advantages of a deeper understanding of the issues, increased resources and expertise, improved service delivery and research design, and empowerment of those involved. This presentation outlines an effective collaboration process undertaken by two music therapists working in end-of-life care. The model for successful collaboration presented here developed out of a year-long process of multifaceted collaborations. This involved: collaboration on the part of each music therapist in their independent interdisciplinary work; collaboration between the two music therapists working together for the first time and coming from different backgrounds, experiences, and philosophies; and ultimately, collaboration between the university and community in clinical service provision, grantwriting, and research in End-of-Life Music Therapy Care. All aspects of these collaborations will be outlined, along with the advantages and disadvantages. The final protocol with its underlying critical components of interdependence will be presented, including an explanation of the following: the mutual respect and opportunity for formal and informal interaction; newly-created professional endeavours; flexibility particularly in terms of blurring of roles; collective ownership of goals; and a reflection on the process by all stakeholders before and throughout the collaborative endeavour. After reviewing their experiences, the process, and the recommended protocol for collaboration based on these experiences, the presentation will conclude with opportunity for small group work in which participants can apply this protocol and its underlying principles to their own work situations. While developing directly out of Hospice/End-of-Life experiences, the collaborative protocol is easily applicable to anyone interested in multidisciplinary work, be it clinical practice, grantwriting, and/or research. PRESENTER NAMES & AFFILIATIONS: Dr. Sandra L. Curtis, MT-BC, MTA Director, School of Music University of Windsor Dr. Lucanne