Groups in Music: Strategies from Music Therapy

Groups in Music: Strategies from Music Therapy......Page 5
Contents......Page 9
List of Figures......Page 13
Acknowledgements......Page 14
Introduction: Music, Society and Shifting Music Therapy......Page 15
Where does this book come from?......Page 16
Who should use this book?......Page 19
How does this book work (and play)?......Page 20
Part I Planning: Thinking Ahead......Page 23
1.1 What am I doing here 1 ?......Page 25
1.2 Professional territories: Having music in common......Page 27
1.3 Improvising our meanings......Page 29
1.4. How considered is your discourse?......Page 31
1.5 Re-meaning comfort zones......Page 33
2.1 Institutions as systems – with a bit of help from Systems Theory......Page 34
2.2 The first approach: Overt and covert mission, vision and values......Page 35
2.3 Staff, hierarchies and power......Page 37
2.4 Getting trapped......Page 40
2.5 Summing up......Page 41
3.1 Why spend so much time on this kind of planning?......Page 42
3.2 In-groups and out-groups......Page 43
3.3 Group membership: Being selective about selections?......Page 45
3.4 Group process: A brief introduction......Page 47
3.5a The one-off group......Page 49
3.5c The long-term group......Page 50
3.6 Setting norms......Page 51
3.7a The closed group......Page 54
3.7b The open group......Page 55
3.7c The semi-open group......Page 56
3.8 Re-grouping......Page 57
4.1 Sound advice......Page 58
4.2 Instrumental range and sound thinking......Page 60
4.3 Making links: People and instruments......Page 62
4.4 Making instruments......Page 64
4.5 Personal property......Page 65
4.6 Concluding notes......Page 67
5.1 Music and society......Page 68
5.2 Working and playing cycles......Page 71
5.3 Owning the music......Page 72
5.4 Music and you!......Page 73
5.5 How predictable? How spontaneous? How structured?......Page 75
5.6 Musical structure (and group systems?)......Page 76
5.7 Making links......Page 80
6.1 The pre-music space......Page 81
6.2 Tuning in to spaces......Page 84
6.3 How vital is the music space?......Page 85
6.4 Limits of time, place and person......Page 87
6.5 Final thoughts......Page 88
7.1 Roles......Page 89
7.2 Your tasks......Page 91
7.3 Group aims and briefs: Generally speaking......Page 93
7.4 External aims and briefs......Page 97
7.5 The inner track......Page 99
7.6 How clear are your aims? (and revisiting discourses)......Page 100
7.7 To conclude: Keep track......Page 101
Part II Executing: ‘Doing’......Page 103
8.1 On becoming a group......Page 105
8.2 In the mood – musical thinking......Page 109
8.3 On ‘receiving’ the persons......Page 113
8.4 Split-second Musicking......Page 115
8.5 Wrapping up......Page 116
9.1 Grouping asynchronies or falling apart?......Page 117
9.2 Learning from not-flowing......Page 121
9.3 Unflowing roles......Page 124
9.4 Concluding thoughts......Page 126
10.1 The cohesive group(s)?......Page 127
10.2 Whose session is this?......Page 129
10.3 The split focus......Page 131
10.4 The hidden group – outside......Page 132
10.5 The volunteer group......Page 134
10.6 Whose music?......Page 135
10.7 The concert performance......Page 136
10.8 Concluding rites......Page 138
11. Group Rituals......Page 140
11.2 Emerging rituals in group music......Page 141
11.3 Developing a ritual......Page 142
11.4 Imposing rituals (at your own risk…)......Page 145
11. 5 Concluding rites......Page 146
12.1 Music and social context......Page 148
12.2 Whose music? (And whose meaning?)......Page 151
12.2a Prescribed meaning......Page 153
12.2b Episodic meaning......Page 154
12.2d Direct meaning......Page 155
12.2e Iconic and symbolic meaning......Page 156
12.2f Episodic meaning and associations for listeners......Page 157
12.3 Divertimento: A listening exercise......Page 158
12.5 Closing notes......Page 161
13.1 What kind of flops?......Page 163
13.2 In- and out-groups......Page 164
13.4 Who’s in charge?......Page 165
13.5 Who’s running this show?......Page 166
13.6 Think before the group flops......Page 167
13.7 Whose conflict is this?......Page 169
13.8 Building bridges......Page 174
Part III Reflecting: Thinking Back and Forth......Page 175
14.1 Making sense of music: Listening to ‘Greensleeves’......Page 177
14.2 Grouping principles: Basic percepts......Page 178
14.3 Musical grammar (or, can you hum ‘What shall we do with the drunken sailor?’)......Page 180
14.4 Perceptual prominence......Page 181
14.5 How are we talking? (And what are we talking about?)......Page 183
15.1 Negotiating the flow: Communicative musicality......Page 185
15.2 Spotting the flow, creating the groove......Page 188
15.3 Physical disability: Is ‘grooving’ possible?......Page 189
15.4 Persons as music: Flowing and grooving......Page 192
15.5 Concluding notes......Page 194
16.1 Identities and roles: Shifts and stabilities......Page 195
16.2 Public and collective stereotypes......Page 197
16.3 Identity and health......Page 199
16.4 Identity and music......Page 200
16.5 Who’s who......Page 201
16.6 Sounding ourselves (i)......Page 202
16.7 A little divertimento......Page 203
16.8 Sounding ourselves (ii)......Page 204
The inner track......Page 205
16.10 In conclusion......Page 206
17.1 Absence and presence......Page 207
17.2 Shifting alliances: Musical and mental......Page 210
17.3 Being present to absence......Page 211
17.4 Thinking through......Page 212
17.5 Present conclusions and absent certainties......Page 214
18.1 Structure and directive work......Page 215
18.2 Group phases and points of view......Page 217
18.3 Cohesive and disruptive forces......Page 218
18.4 Who’s the leader? (And who’s following?)......Page 220
18.6 Inconclusive thoughts......Page 221
19.1 Evaluate what? (And what’s evaluating)?......Page 222
19.2 Why evaluate?......Page 224
19.3 How do we evaluate?......Page 225
19.4 What do you want to know?......Page 226
19.5 The focus group evaluation......Page 229
19.8 End notes: How to end......Page 236
In Conclusion......Page 238
Recommended Reading......Page 241
Subject Index......Page 248
Author Index......Page 254