Grocke, D., and Wigram, T. (2007). Receptive methods in music therapy: Techniques and clinical applications for music therapy clinicians, educators, and students.

Baker, Felicity

Grocke, D., and Wigram, T. (2007). Receptive methods in music therapy: Techniques and clinical applications for music therapy clinicians, educators, and students. London: Jessica Kingsley Publishers. AUS$53.95, 270 pages, ISBN: 978-184310-413-X

Experienced clinicians, music therapy educators and researchers, Grocke and Wigram come together to contribute a comprehensive text on receptive methods in music therapy. Grocke integrates her clinical and research experience in GIM and Wigram with his clinical and research experience in Vibroacoustic therapy to comprehensively describe a range of interventions. In addition, they draw on the clinical experience of several therapists to illustrate the methods via vignettes. These bring to life, the techniques and the type of dialogue that clinicians utilize when implementing these interventions. Samples of scripts for inductions and relaxation are presented for varying client groups across the lifespan providing students and clinicians with a repertoire of scripts from which to draw on (chapters 3 and 4). Further, the text offers examples of statements/questions that therapists might pose to clients appropriate for differing depths of discussion/reflection (chapter 6, p.166).

Grocke and Wigram reinforce the importance of choosing appropriate music and ask therapists to be mindful of their assumptions as to how clients may respond (chapter 2). Eg "the solo human voice can have a powerful effect on a client when in a relaxed state. A female or male voice might be heard as nurturing and supportive to one person, but domineering to another" (p.55). They discuss genres of music that are appropriate for different receptive interventions according to their musical components such as form, harmony and dynamic range. Given that an increasing numbers of Australian music therapists do not enter music therapy training with an undergraduate degree in music, these explanations are valuable. This information is supported with an extensive list of music selections that meet these criteria.

Chapter 1 introduces the reader to considerations the student/RMT should reflect upon when client preferred music challenges the therapist's own beliefs/attitudes. Useful exercises are included which could be brought to professional supervision or supervision sessions with students. Also included in this chapter is a summary of Egan's skills of empathic behaviour. But what this text adds is how Egan's skills can be integrated within a music therapy context, thereby its relevance more transparent.

Those clinicians/students unfamiliar with music and imagery methods will find chapter 5 especially useful where techniques of directed, unguided and guided music imaging are explained and carefully detailed. Examples of short and longer experiences are integrated as well descriptions of how to implement the techniques with individuals or in group contexts. Presentations of methods involving song lyric discussion, reminiscence and life review (chapter 6), perceptual listening and music appreciation (chapter 7), and utilization of art media (chapter 8) are included as well as chapters on Vibroacoutic therapy (chapter 9) and music and movement (chapter 10).

While I take the perspective of a music therapy educator and strongly recommend this text for all students, I also see myself as a life long learner and this book has provided me with new and inspiring methods organized in such a way as to function as a reference text. Each chapter stands alone so the student/therapist can flick to relevant parts easily. As the first book of its kind on receptive methods in music therapy, this book will serve many needs of all music therapists and students.

Reviewer: Felicity Baker, PhD, RMT

Senior Lecturer and Head of Music Therapy Training

The University of Queensland