Improvisation in Music Therapy

Patricia Sabbatella

Affiliation: University of Cdiz Faculty of Sciences Education

Address:
Campus Universitario de Puerto Real
Av. Repblica Saharaui s/n. 11519 - Puerto Real - Cdiz - Espaa
Tel: + 34-956-016225 - Fax: + 34-956-016253
Email:patricia.sabbatella@uca.es

Aim and objectives

The aim of the workshop is to introduce participants to the broad field of music therapy
improvisation, providing theoretical and practical information about improvisation techniques in
music therapy, giving the opportunity to make some practical experiences.
The workshop focuses on the improvisational use of the voice, movement and percussion
instruments in music therapy improvisation. Applications of music therapy improvisation with
various clinical populations will be discussed.
Structure of the workshop:

Theoretical presentation: Defining Improvisation in Music Therapy.

Practical exercise: Improving self expression, creativity and communication using voice,
movement and percussion instruments.

Group Discussion: Brainstorming and open discussion about the practical exercise.
Conclusions .


Context
Music therapy is a systematic and interpersonal process in which the therapist uses music to
help clients to improve, restore or maintain health (Bruscia, 1998). Music therapists design
sessions for individuals and groups based on individual needs and therapeutic goals. Depending
upon the needs of the client and the orientation of the therapist, different approaches to the use
of music in therapy may be emphasised.
In Music Therapy clinical practice, different Music Therapy methods and techniques are used
with the purpose of creating insight and finding new ways for life development in relation to the
patients problem, disability or mental suffering. A music therapy session involves the client in a
type of Therapeutic Musical Experiences.
The main ones are: improvising, re-creating, composing, and listening to music. Each type of
Therapeutic Musical Experiences has its own therapeutic goals and applications, and involves:

A different set of sensorimotor behaviours

Requires different kinds of perceptual and cognitive skills

Evokes different kinds of emotions

Engages a different interpersonal process

 Music Therapy literature documents the development and value of improvisation in clinical
work working with different kind of clinical populations. Improvisation techniques play a key role
in the toolbox of the music therapist and are connected with relevant clinical models and
methods of Music Therapy and with a broad spectrum of client populations. Bruscia (1987)
summarizes the major models of improvisational music therapy, detailing and comparing the
diverse approaches to improvisational therapy.
Improvisation was introduced in Music Therapy not long after the profession was born in the
middle of the XX Century. During the sixties Paul Nordoff and Clive Robbins (1977; 1983) began
developing a very well-known music therapy method called Creative Music Therapy or Nordoff-
Robbins
Music Therapy. Originally designed for disabled children, the model can also be used with
adults. In this method improvisation is the main therapeutic tool used, music is improvised
uniquely for each client and for each session.
In England, Juliette Alvin (1975; 1986; 1978) developed her own way of working with disabled
children. She used "free improvisation" as part of a comprehensive approach to music therapy
which employed various other musical activities as well. The improvisations were considered
"free" because the therapist does not impose any rules, structures or themes, but rather allows
the client to "let go" on a musical instrument while also finding his/her own way of ordering and
sequencing the sounds. Mary Priestley (1975; 1994), working in London, was the first to explore
the use of improvisation in psychotherapy with verbal adults. Taking a psychodynamic approach,
using piano, percussion instruments and verbal discussion, she based the improvisations on
whatever concerns the client brought into the session, having them to improvise sound portraits
of feelings, events, persons, relationships, and so forth. Now her approach to improvisation is
well kown in Analytical Music Therapy. Gertrude Orff (1980) incorporated the ideas of the "Orff-
Schulwerk", a philosophy of music education originally conceived by the twentieth century
composer Carl Orff, in the field of music therapy.
In Argentina, Rolando Benenzon (1976; 1982) developed an approach which employs the
ISO principle in designing improvisations and other musical activities for the patient. In his
conception, "ISOS" are sounds or sound complexes that characterize a person, group,
environment, etc.
The history of Music Therapy improvisation has evolved from experimentation and discovery,
followed by formalization and communication through publication. Its clinical strategies and
techniques have been developed and tested, not through theory or research, but through actual
working with clients musically for and extended period of time. Nowadays Improvisation is used
as a main methodological approach in MT in Europe and Latin-American countries.

Methodology
In Improvisational Music Therapy, the client makes up his or her own music spontaneously
with voice or an instrument. The client may improvise with the therapist, with other clients, or
alone, depending on the therapeutic objective. The client may improvise freely, responding
spontaneously to the sounds as they emerge, or the client may improvise according to the
specific musical directions given by the therapist. Figure 1 presents an overview of the
resources used in music therapy improvisation.
In Improvisational Methods,
music therapists are trained to create improvisations with a wide range of intensity (harmonic,
dynamic, rhythmic), contour (melodic shape, harmonic contours), time (tempo changes), motion
(the illusion of different tempi through rhythmic subdivisions); and to exercise disciplined and
subtle control over these within a highly aesthetic medium - that of music.
Improvisation techniques are most appropriate for clients who need to develop spontaneity,
creativity, freedom of expression, communication, and interpersonal skills as these are the
basic requirements of improvising. Improvising enables these clients to communicate and share
feelings with others, while also helping them to organize their thoughts and ideas in a meaningful
way.

MUSIC THERAPY IMPROVISATION

RESOURCES
MUSIC
SOUNDS BODY

VOICE IMPROVISATION MOVEMENT

MUSICAL BODY
INSTRUMENTS PERCUSSION
(PIANO GUITAR) PERCUSSION
Figure 1: Resources used in music therapy improvisation
INSTRUMENTS
For many music therapists improvisation is the primary method of work in the belief that the
FREE
sound that we makeIMPROVISATION
can represent us (musical STRUCUTURED IMPROVISATION
identity), and that improvised music can provide
ATONAL - TONAL
the framework for an interpersonal relationship between therapist and client.

Results
Improvisation is a theme that concerns everyone who is active in music. Improvisation has
many different aspects and can have positive impacts on the formation of the personality in
many different ways- musical and non musical ones. Music is a live experience and can be
improvised by anyone.

Music Therapy Improvisation: Suggested Readings

Paul Nordoff & Clive Robbins (1977). Creative Music Therapy. New York: Harper and Row
Publishers.
Through rich in musical ideas and improvisational principles the authors created
improvisation exercises for music therapists, giving skilled pianist guidelines for how to
clinically improvise at piano within the Nordoff-Robins Model.
Kenneth Bruscia, (1987). Improvisational Models of Music Therapy. USA: Charles Thomas
Publisher.
The first text book detailing and comparing the diverse approaches to improvisational
therapy. The text is useful for teaching how the pioneers and other music therapists worked
clinically with improvisation.
Clive Robbins & Carol Robbins, Ed. (1998). Healing Heritage: Paul Nordoff Exploring the
Tonal Language of Music. Gilsum NH: Barcelona Publishers.
Complete transcripts of the famous 1974 lectures by Paul Nordoff and Clive Robbins. This
book is a foundational text for all music therapists who use improvisation as therapy.
Mary Priestley (1994). Essays on Analytical Music Therapy. Gilsum NH: Barcelona
Publishers.
This book brings together the major writings of Mary Priestley on Analytical Music Therapy, a
psychodynamic approach to clinical improvisation that she pioneered in England. The text
interweaves theory with case examples, presenting Mrs. Priestley's clinical work, her ideas,
her feelings, and her music.
Even Ruud (1998). Music Therapy: Improvsation, Communication and Culture. Gilsum NH:
Barcelona Publishers.
A serie of essays designed to expand existing concepts of music therapy theory, practice and
research. The author provides an in-depth examination of fundamental questions for Music
therapy profession focusing on music therapy improvisation, musical communication,
musical meaning and how music can contribute to individual and collective identity.
Tony Wigram (2004). Improvisation: Methods and Techniques for Music Therapy Clinicians,
Educators and Students. London: Jessica Kingsley.
Wigram's practical and comprehensive guide is useful to students, teachers, therapists and
musicians as a book of musical techniques and therapeutic methods. The author discusses
a variety of techniques and methods for the use of improvisation in music therapy and
provides a background in music therapy improvisation approaches. The text includes a CD
with musical examples.

References
Alvin, J. (1975). Music Therapy. London: John Clare Books.
Alvin, J. (1976). Music for the handicapped child (2nd edition). London: Oxford University
Press.
Alvin, J. (1978). Music therapy for the autistic child. London: Oxford University Press.
Benenzon, R. (1976). Musicoterapia en Educacin. Buenos Aires: Paidos.
Benenzon, R. (1982). Manual de Musicoterapia. Buenos Aires: Paidos.
Bruscia, K. (1987). Improvisational Models of Music Therapy. USA: Charles Thomas
Publisher.
Bruscia, K. (1998). Defining Music Therapy (Second Edition). Gilsum NH: Barcelona
Publishers.
 Nordoff, P. & Robbins, C. (1977). Creative Music Therapy. New York: John Day.
Nordoff, P., & Robbins, C. (1983). Music therapy in Special Education. St. Louis: MMB.
Orff, G. D. (1988). The Orff Music Therapy. New York: Schott Music Corporation.
Priestley, M. (1975). Music therapy in action. St. Louis: MMB.
Priestley, M. (1994). Essays on Analytical Music Therapy. Gilsum NH: Barcelona Publishers.
Robbins, C., & Robbins, C. (eds). (1998). Healing Heritage: Paul Nordoff Exploring the
Tonal Language of Music. Gilsum NH: Barcelona Publishers.
Ruud, E. (1998). Music Therapy: Improvisation, Communication and Culture: Gilsum NH:
Barcelona Pub.
Sabbatella, P. (2004). Improvisation in Music Therapy. Documentation of the Conference
Improvisation in Music. European Music Council.
Wigram, T. Nygaard Pedersen, I. y Ole Bonde, L. (eds) (2002). A Comprehensive Guide to
Music Therapy. Theory, Clinical Practice, Research and Training. London: Jessica Kingsley.
Wigram, T. (2004). Improvisation: Methods and Techniques for Music Therapy Clinicians,
Educators and Students. London: Jessica Kingsley.