Music therapy professionals work with diverse population groups, and this book provides therapists, and those in training, with the tools to integrate understanding of different cultural and social identities into their practice. Topics addressed include heritage, age, location, identity and health beliefs, and how to understand the dynamics of the variety of different cultures which music therapists will encounter in the course of their practice. Each chapter is written by an expert on a topic of personal interest in music therapy, explored through a multicultural lens. The chapters include anecdotes, case studies, and practical activities to try, while encouraging the reader to reflect on their own identity as a music therapist. This book is essential reading for all music therapy professionals wanting to practice in a culturally-informed manner, and respect the needs, contributions and strengths of every client.

This is the first comprehensive textbook on multicultural dimensions of music therapy. The editors pass the literary microphone to the contributing authors - all music therapists who have found belonging and identity in diverse cultures. The authors examine how music therapy is relevant within an individual's cultural context through personal and scholarly explorations. The chapters are separated into three sections: 1) understanding oppression and bias; 2) minority cultures within North America; and 3) inclusive music therapy practice and education. This focused examination prompts the reader to listen to myriad voices and engage in cultural dialogues.

This exciting text is a comprehensive work that examines the use of art, play, music, dance/movement, and drama in different cultures and with diverse client populations. The editors’ primary purpose is to explore how the creative therapies can be implemented in diverse cultures and in different countries. Renowned, well-credentialed, and professional creative arts therapists in the areas of art, play, music, dance/movement, and drama helped write this collection. Examples include the use of art in working with refugee children in Australia and with Chinese-American children; shared experiences in using dance and movement with Arabic women in Jerusalem, indigenous Inner Mongolia, and with survivors of torture. Other chapters offer stories of using drama in the Netherlands, music and other creative arts in China, play therapy in Appalachia and with different races. Additionally, there are chapters on working with children with learning disabilities as well as the use of creative arts in supervision. Some of the chapters are beautifully complimented with photographs of client works of art or play. The text provides a rich tapestry on how the creative therapies can be used across cultures for issues such as depression and trauma to name a few. Of special interest are the chapters on supervision. Not only a tool for creative art therapists, this informative book will be of special interest to educators, students, therapists, as well as people working in other parts of the world or with culturally diverse clients.

Music therapists from around the world working in conventional and unconventional settings have offered their contributions to this exciting new book, presenting spirited discussion and practical examples of the ways music therapy can reflect and encourage social change. From working with traumatized refugees in Berlin, care-workers and HIV/AIDS orphans in South Africa, to adults with neurological disabilities in south-east England and children in paediatric hospitals in Norway, the contributors present their global perspectives on finding new ways forward in music therapy. Reflecting on traditional approaches in addition to these newer practices, the writers offer fresh perceptions on their identity and role as music therapists, their assumptions and attitudes about how music, people and context interact, the sites and boundaries to their work, and the new possibilities for music therapy in the 21st century. As the first book on the emerging area of Community Music Therapy, this book should be an essential and exciting read for music therapists, specialists and community musicians.

Music therapy is growing internationally to be one of the leading evidence-based psychosocial allied health professions to meet needs across the lifespan.The Oxford Handbook of Music Therapy is the most comprehensive text on this topic in its history. It presents exhaustive coverage of the topic from international leaders in the field.

An in-depth exploration of taking culture-inclusive perspectives for practice, theory, and research in music therapy. Part One outlines premises for the argument, examining basic concepts such as culture, humankind, meaning, "musicking," and the nature-nurture debate. Part Two highlights how culture-centered music therapy may be practiced. In Part Three, implications for describing and understanding music therapy are discussed, including a chapter on how to define music therapy as practice, discipline, and profession. A culture-inclusive model of the music therapy process is also proposed. Part Four suggests approaches to music therapy research within a culture-centered context.

The OECD stated in 2018 that language barriers are among the greatest obstacles to the successful inclusion of students with an immigrant background. Providing adequate instruction in the language of instruction at school, and offering learning experiences independent of the level of language skills is, therefore, an essential task of the 21st-century school systems. This book explores how music therapy can contribute to solving this challenge. It investigates the multicultural learning environment of an Italian elementary school that is characterised by students with multiple native languages and different levels of proficiency in the language of instruction. In some cases, students have difficulty following lessons and participating in social life. The children (5-8 years) receive music therapy in the experimental condition and regular school activity in the control condition according to a within-subject control group design, meaning that half the children started in the control condition and the other started in the experimental condition; they switched at the half-time point. Data on the children’s language skills and general behaviour are collected and analysed.