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This paper describes an integrative approach to working therapeutically with individual children who have emotional and behavioural difficulties which combines music therapy with other creative therapies (particularly play therapy and dramatherapy). The development of this way of working in response to spontaneous interactions initiated by children is described, as are its underlying person-centred principles. The advantages of, and potential objections to, such an approach are considered. A case study is used to illustrate the approach.

This article considers the theoretical and practical use of the systemic approach in music therapy. An overview of the basic elements of the systemic approach is given. The potential benefits the approach can bring to music therapy practice are outlined with reference to the author’s work with young people with social, emotional and behavioural difficulties and their families. The potential for the systemic approach to contribute to the ongoing development of music therapy theory and practice is also explored, with particular reference to community music therapy. Two case studies are used to illustrate the use of the approach in practice.

Young people who have experienced complex trauma are often under-reached by statutory therapeutic provisions.Systemic therapy has potential for these clients as many of their difficulties are systemic in nature but adaptations to practice can be beneficial in order to support engagement and enhance positive outcomes. I describe an approach based on several years of practice experience which includes using expressive and physical activities, attending to issues of power and difference, using non-clinical settings, providing long term attachment-informed therapy,

This paper describes the use of music therapy in supporting adolescents from a deprived, inner-city background with social, emotional and behavioural difficulties (SEBD) and draws on the author's work with adolescents in SEBD schools and pupil referral units (PRUs). The complex needs of this client group are outlined in terms of social, cultural, developmental and organic factors. The difficulties they face in accessing traditional National Health Service-based psychotherapy are described and ways of providing a more inclusive therapy service are suggested including the use of music therapy, providing therapy in schools rather than in mental health clinics and thinking about the nature of the therapeutic relationship being offered. The need to ensure that music therapy practice adapts to the cultural needs of such clients is also explored with a focus on the use of music technology and rap. A case study is used to illustrate the approach used by the author.