© Brynjulf Stige, Gary Ansdell, Cochavit Elefant and Mercédès Pavlicevic 2010. The overriding theme that is explored is how music comes to afford things in concert with its environments, which may suggest a way of accounting for the role of music in music therapy without reducing music to a secondary role in relation to the "therapeutic," that is, being "just" a symbol of psychological states, a stimulus, or a text reflecting socio-cultural content. Music and musicing has helped these people find their voice (literally and metaphorically) to be welcomed and to welcome, to be accepted and to accept, to be together in different and better ways, to project alternative messages about themselves or their community and to connect with others beyond their immediate environment. The various chapters of the book portray "music's help" in action within a broad range of contexts with individuals, groups and communities - all of whom have been challenged by illness or disability, social and cultural disadvantage or injustice. Where Music Helps describes the emerging movement that has been labelled Community Music Therapy, and it presents ethnographically informed case studies of eight music projects (localized in England, Israel, Norway, and South Africa). The book contributes to the current discourse on music, culture and society and it is developed in dialogue with related areas of study, such as music sociology, ethnomusicology, community psychology and health promotion. The central premise for the study is that help is not a decontextualized effect that music produces. This book explores how people may use music in ways that are helpful for them, especially in relation to a sense of wellbeing, belonging and participation. I conclude that music therapy is poised to highlight the radical performative and social features of health status and that these features have far-reaching implications for our concepts of illness and the aetiology of illness and, most importantly, for the ways in which we conceptualise and implement therapeutic procedures of all kinds. I suggest that they are not amenable to the observation and documentation of temporal and local craft practices and that these practices provide the active ingredients of music therapy's effectiveness. I then consider what is overlooked when experimental models are used as the prime mode of perceiving the music therapeutic process and suggest that they may not provide a good or appropriate way of observing, accounting for and assessing music therapy. It sets the growing dominance of this method within music therapy in the contexts of medical work and the changing social relations of medical expertise, the importance of local practice in music therapy (and healthcare more widely), and the politics of representation as they apply to medical modes of accounting and measurement.
(Kochan = Mullen authorship ID# 10661)Īdopting a knowledge-based controversy perspective, this article considers critically the ‘fit’ or appropriateness of the so-called ‘gold standard’ of assessment – the Randomised Controlled Trial. Readers are invited to generate other proposals/solutions for the improvement and transformation of current authorship conventions and practices. We propose the adoption of one we think solves many of the problems associated with name issues in genuinely collaborative work. Six proposals for considering authorship in creative and practical ways are presented, with open discussion of the pros and cons of each. We share our belief that collaborative authorship practice should address issues of fairness and justice, and include strategies to make authorship that is truly equal more accurately visible. The article provides a context for understanding experiences of authorship at individual and social levels of the academy.
#BIG EARS INTERACTIVE EAR TRAINER PATCH#
A briar patch metaphor is used to help capture our personal and professional struggles with authorship in collaborative projects. This article describes a reflective analysis of authorship issues in higher education from the perspective of two female academics who are committed to collaborative work.
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