A reflection on taxonomies in music therapy : from practice to research

1. A reflectionontaxonomies in musictherapy: frompracticetoresearch Dr. Gustavo Schulz GattinoIV Ibero-American Congress of Research in Music TherapySao Paulo, August 30, 2019

2. Inspiration for the lecture: Train of eleven o’clock (Adoniran Barbosa) • Eunãopossoficar • Nemmais um minuto com você • Sintomuitoamor • Mas nãopodeser • Moro emJaçanã • Se euperderessetrem • Que sai agora àsonze horas • Sóamanhã de manhã

3. Inspiração para a palestra: Trem das onze (Adoniran Barbosa) • I can not stay • Not another minute with you (understanding of music therapy with little thought about its distinctive taxonomies) • I'm sorry my love • But it can not be • I live in Jaçanã • If I miss this train (understand how the concept of taxonomy is important for understanding the production of knowledge in music therapy and in turn the different theories that structure it) • Which leaves now at eleven o'clock • Only tomorrow morning (having to learn about music therapy taxonomies at another time)

4. Taxonomy • Taxonomy is the science that deals with the principles, methods and purposes of classification. • The term taxonomy comes from the Greek taxis = order and onoma = name and derived from one of the branches of biology that deals with the logical and scientific classification of living beings. • Taxonomies organize and create meanings for relationships between things or ideas. Lopes, W. R., & Vasconcelos, S. D. (2012). representação e distorçõesconceituais do conteúdo" filogenia" emlivrosdidáticos de biologia do ensinomédio. ensaiopesquisaemeducaçãoemciências, 14(3), 149-165.

5. Taxonomy in music therapy • Music therapists assign classifications to their knowledge. • All existing theories in music therapy were produced through a taxonomic understanding (where a classification based on some criterion or theoretical foundation was assigned). • Understanding the justifications of a taxonomy (assigning a classification) to a theoretical concept brings the music therapist closer to the theories of his own discipline. • The music therapist needs the theories of his/her profession to substantiate his/her practice, to explain the music therapy phenomena, to develop investigations and to explain the research results.

6. Where to study about music therapy theories and their respective taxonomies • Bruscia, K. E. (2014). Definingmusictherapy. Dallas: Barcelona Publishers. • Aigen, K. S. (2013). The studyofmusictherapy: Currentissuesandconcepts. Routledge. • Jacobsen, S., Pedersen, I., & Bonde, L.O. A ComprehensiveGuideto Music Therapy: Theory, ClinicalPractice, Researchand Training. Jessica KingsleyPublishers. • Edwards, J. (Ed.). (2016). The Oxford handbookofmusictherapy. Oxford University Press.- • Kirkland, K. (2013). Internationaldictionaryofmusictherapy. Routledge. • Zimbado, A. (2013). Musicoterapia. Perspectivas. Buenos Aires. EdicionesPaidós • Há uma necessidade de livros teóricos em musicoterapia em português e espanhol.

7. Motivation • Most music therapists reflect little on the different taxonomies in both clinical practice and research context. • In turn, there is no consistent reflection on how knowledge is produced in the discipline and in turn how the music therapist understands his/her theories. • The music therapist is expected to be able to use his theoretical knowledge to be able to work within his professional practice. • According to the American Music Therapy Association (AMTA), a music therapist may have a basic understanding of theory upon graduation and an advanced understanding upon completion of a master's degree.

8. Advanced Music Therapist Competencies on Theories (AMTA, 2015) • 1.1 Apply a comprehensive and in-depth knowledge of the fundamentals and principles of music therapy practice.1.2 Differentiate the theoretical or treatment orientations of current models of music therapy.1.3 Synthesize the comprehensive knowledge of current theories and deduce their implications for music therapy practice, supervision, education and / or research.1.4 Identify theoretical constructs of music therapy and related fields that underlie various clinical practices and research approaches.1.5 Use current theoretical, clinical and research literature from music therapy and related fields to identify emerging models and predict / propose future models and trends for music therapy.1.6 Articulate and defend a personal philosophy, approach and / or theory to music therapy. American Music Therapy Association. (n.d). American Music Therapy Association Advanced Competencies. Retrieved August, 27, 2019, from https://www.musictherapy.org/about/musictherapy/

9. Purpose of this presentation • To show the origin of our taxonomies in music therapy through a historical analysis of how we produce theoretical knowledge within the discipline, first from practice and then within music therapy research. • Discuss some common taxonomies used in the practice and research contexts experienced by music therapists that may have different understandings depending on the theoretical foundation used.

10. Origin of our taxonomies in music therapy (How to explain?) • Introduce some basic foundations on knowledge. • Discuss the concept of theory. • Reflect on the different historical moments on the production of theoretical knowledge in music therapy from the writings of Kenneth Aigen. • Show some of the different schools of thought on the production of theoretical knowledge in music therapy and, in turn, present some of the different understandings on how to produce different taxonomies in music therapy.

11. Forms of knowledge according to Aristotle • PhronesisKnowledge of everyday life (practical): wisdom about being in the world, express action.EpistemeThe pure knowledge. Today almost identical to "theories" produced by and through research.TechneKnowledge of the methods and techniques that are part of a process leading to pre-defined goals. Ridder, H. M. & Bonde, L. O. Music Therapy Research: an overview. In Jacobsen, S., Pedersen, I., & Bonde, L.O. A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training. Jessica Kingsley Publishers. pp- 390-402.

12. Understanding knowledge • Facts, information and skills gained through experience or education; the theoretical or practical understanding of a subject. • Knowledge is a familiarity, awareness or understanding of someone or something, such as facts, information, descriptions or skills, which is gained through experience or education in perceiving, discovering or learning. Ridder, H. M. (2019). Epistemology. Music Therapy PhD Seminar. Doctoral Program of Music Therapy, Aalborg University.

13. Understanding theory • A theory is a set of ideas used to understand and explain the world around us. • Theories are usually organized through concepts that explain and detail the understanding of a theory. • Theories consist of one of the three pillars of music therapy along with music therapy practice and research. Ridder, H. M. & Bonde, L. O. Music Therapy Research: an overview. In Jacobsen, S., Pedersen, I., & Bonde, L.O. A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training. Jessica Kingsley Publishers. pp- 390-402.

14. The distinct historical moments in the creation of theories (and taxonomies) in music therapy • Aigen suggests a chronological organization to explain the different moments of theory production in music therapy and, in turn, of different taxonomies in the discipline. • Obviously, this chronology is not accurate since in each period there are exceptions to the trends used. • In this organization, the author is interested in understanding the creation of different models in music therapy. • This organization is based mainly on the chronology of European and English speaking countries. • Although there are some particular differences in some countries not considered in this Aigen chronology, this is a global trend. Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

15. Three stages in the development of music therapy theories Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

16. Imported Theories of Clinical Psychology and Behaviorism (1945-1964) • Systematization of music therapy based on taxonomies from psychoanalysis and behaviorism. • In addition, there was a great influence of the medical field regarding the ways to evaluate the results of music therapy. • Absence of specific of music therapy terms. • In Latin America, doctors, psychologists, speech therapists and music teachers organized the first activities on the theme in this period. • This means that in Latin America there was a more diverse influence within the terminologies used. Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

17. Development of models and approaches in music therapy (1965-1981) • Understanding of model and approach according to the taxonomies attributed by Kenneth Bruscia and Jane Edwards. • For Bruscia, a model is an integral approach to evaluation, treatment, and final evaluation, which includes clinical principles, clinical indications and contraindications, objectives, guidelines, and methodological specifications, and the characteristic use of particular procedural sequences and techniques. Absence of specific terms of music therapy. • According to Edwards, one approach is an approximation of a model of another discipline for music therapy. Bonde, L. O. & Trondalen, G. Perspective son Internationally Well-Know Music Therapy Models - an introduction. In Jacobsen, S., Pedersen, I., & Bonde, L.O. A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training. Jessica Kingsley Publishers. pp- 157-159.

18. Development of models and approaches in music therapy (1965-1981) • Some models: Nordoff-Robbins model, GIM model, Priesley model, Benenzon model, Alvin model. • Some approaches: behavioral music therapy and Orff music therapy. • In 1982, there was the seminar "Music in the Life of Man" in the United States, which was a milestone for the presentation of the main models and approaches in music therapy. • During this period, there was a concern in the different taxonomies to characterize a model or approach and to establish boundaries and differentiations between them. • From the concepts used, according to the use of different taxonomies, it was possible to understand what was the theoretical position of the music therapist within a model or approach. Bonde, L. O. & Trondalen, G. Perspective son Internationally Well-Know Music Therapy Models - an introduction. In Jacobsen, S., Pedersen, I., & Bonde, L.O. A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training. Jessica Kingsley Publishers. pp- 157-159.

19. Development of theoretical orientations in music therapy (1892-) • This was the period of development of indigenous concepts (derived from music therapy theories themselves) and theoretical orientations. • According to Aigen, orientations are trends that offer a way of expressing, describing, and explaining the values of a music therapy practice. • In this sense, a orientation does not contain specific interventions, procedures and objectives. The orientations are based on values, concepts and generalized philosophical foundations. Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

20. Some orientations in music therapy (1892- ) • Field of Play/MythicArtery (Kenny, 1982, 1987, 1989, 2006) • BiomedicalMusic Therapy (Taylor, 1997) • Culture-CenteredMusic Therapy (Stige, 2002a) • AestheticMusic Therapy (Lee, 2003) • CommunityMusic Therapy (PavlicevicandAnsdell, 2004a) • Complexity-BasedMusic Therapy (Crowe, 2004) • Music-CenteredMusic Therapy (Aigen, 2005a) • Analogy-BasedMusic Therapy (Smeijsters, 2005) • DialogicalMusic Therapy (Garred, 2006) • FeministMusic Therapy (Hadley, 2006) • Resource-OrientedMusic Therapy (Rolvsjord, 2010) • Humanities-OrientedMusic Therapy (Ruud, 2010) Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

21. Some orientations in music therapy (1892- ) • Field of Play/MythicArtery • BiomedicalMusic Therapy • Culture-CenteredMusic Therapy • AestheticMusic Therapy • CommunityMusic Therapy • Complexity-BasedMusic Therapy • Music-CenteredMusic Therapy • Analogy-BasedMusic Therapy • DialogicalMusic Therapy • FeministMusic Therapy • Resource-OrientedMusic Therapy • Humanities-OrientedMusic Therapy • Aesthetic Music Therapy Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

22. Some orientations in music therapy (1892- ) • AutopoieticMusic Therapy • A rhizomesetting • Music andpsyche • RelationalAcousticScenario • Social musictherapy • ArtisticMusic Therapy • Dynamicmusictherapy • Music TherapyandHybridism Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

23. Thought schools for the creation of taxonomies in music therapy today • Group 1: Providing Support for Existing Practice - reflects ways of looking at existing clinical practice where each guidance (from your taxonomic understanding) is created in response to these practices. • Group 2: Providing Foundations for New Practices - Creating theoretical perspectives that allow us to open boundaries for some existing practices and thus create new forms of clinical practice. • Group 3: Providing Foundations for a New Clinical Model - Creating concepts for establishing models in music therapy. Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

24. Reflecting on the taxonomy of some concepts in music therapy • Some concepts used in practice and research may have different names, but the same meaning. • At the same time, the same term may have different understandings. • Therefore, it is essential to know what is the origin of a given taxonomy in order to understand what a particular term consists of and what is the author's justification for a given taxonomy. • In other words, it is not coherent to understand a taxonomy as the most correct or the best. • Taxonomies must be understood from their contextualization as a form of knowledge. Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

25. Some terms to reflect from different taxonomy understandings • Model • Method • Technique • Containing • Holding • Metaphor • Assessment • Evaluation Aigen, K. S. (2013). The study of music therapy: Current issues and concepts. Routledge.

26. Model • Bruscia (model in a general perspective) - a particular way of understanding music therapy from a practical and theoretical conception for a given target population. • Bruscia (within the context of improvisation) - create a model of musical performance where the patient can model this model through mirroring or imitation. • Nicki Cohen understands the term used by Bruscia (model in a general perspective) as a model. • Cohen believes that the term model makes sense only in the sense of modeling something.

27. Method • Bruscia (from a general perspective) - consists of a particular way of using a musical experience (improvisation, composition, receptive experiences, and recreation). • Wigram (within the context of improvisation) - variations on the different ways of using improvisation in a clinical context. • Baker (within the context of songwriting) - variations on the different ways of using songwriting in a clinical context. • Lia RejaneBarcellos understands that Bruscia's term for method (about musical experiences) should be understood as technical (since the term method can be understood as a set of procedures organized in a certain way).

28. Technique • Bruscia (about musical experiences) - is a particular way of engaging the patient within one of four musical experiences. • Wigram (within the context of improvisation) - refers to the musical techniques that the music therapist uses (techniques for playing the instrument). • Barcellos- refers to the categories of musical experiences. • What Bruscia understands as technique (about musical experiences), authors like Tony Wigram and Felicity Baker understand as method.

29. Containing • Wigram (within the context of improvisation) - contain the patient's improvisation when it is chaotic and to a great extent. • Goldberg and Summer (inside GIM) - how music offers a kind of restraint to the patient according to the musical characteristics of the listened to (small, medium and large) • Bruscia means the term containingthrough the term holding.

30. Holding • Wigram (within the context of improvisation) - providing an 'anchor' and containment when a patient's music is not centered on its reproduction and whose music is random in direction. • Mary Priesley (within the context of improvisation) - allowing the patient to fully experience their emotion to its climax by expressing the emotional sound while being emotionally contained by the therapist's musical matrix. • Diane Austin (within the context of improvisation) - technique to assist the patient in vocal improvisation where the music therapist used few chords to provide a musical support.

31. Metaphor • Barcellos (from the perspective of the music therapist) - understand the musical narrative of the patient in music therapy from his sound-musical traces that express his clinical history. • Aigen(from the perspective of the music therapist) - understanding how to musically reproduce the patient's body / facial management and actions. • Lars Ole Bonde (from the patient's perspective) - the experience about verbally reported images and, in dialogue with the therapist (metaphorically, the "guide") where patient verbalizes about his inner world.

32. Assessment • American Music Therapy Association - second stage of the music therapy process after referral. • Waldon and Gattino- any process of collecting and analyzing music therapy data.

33. Evaluation • American Association of Music Therapy - fifth stage of the music therapy process, where the music therapist evaluates what the treatment results were. • Waldonand Gattino- may be involved in any evaluation process where the music therapist needs to assign a decision (approved or unapproved for something, for example). • GiorgosTsiris, Neta Spiro & MercédèsPavlicevic - assessment of the quality of a particular service or provision of service.

34. Reflecting on the taxonomy of some concepts in music therapy • The careful interpretation of the different taxonomies gives music therapy a more accurate view of its actions in the therapeutic process. • In research, the researcher has a greater fluidity to navigate between different concepts at different times of an investigation. • A diverse taxonomic understanding even allows the creation of theoretical studies to compare or even create new concepts in music therapy.

35. Final considerations • Although not such a soft topic to address, the discussion of taxonomy needs to be more present in music therapy research events. • The study of taxonomies begins in the basic formation of the music therapist, but should be continued mainly throughout the formation of the researcher. • Knowing more about our taxonomies is a way of defending our discipline on both a practical and a theoretical level.

36. Inspiration for the lecture: Train of eleven o’clock (Adoniran Barbosa) • Eunãopossoficar • Nemmais um minuto com você • Sintomuitoamor • Mas nãopodeser • Moro emJaçanã • Se euperderessetrem • Que sai agora àsonze horas • Sóamanhã de manhã

37. THANK YOU! GATTINO@HUM.AAU.DK