Ethnomusicological Perspectives on Autism, Neurodiversity, and Music Therapy

Bakan, Michael B.

doi:10.15845/voices.v14i3.799

Cited by 21 publications

(11 citation statements)

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“…A significant contribution to the music therapy and disability studies literature was published in 2014 in a Special Issue of Voices (see Hadley, 2014). Here, a number of international practitioners demonstrated with insight and rigour the potential of disability studies to inform and enrich the discipline of music therapy and to challenge entrenched assumptions and practices (Bakan, 2014; Bassler, 2014; Cameron, 2014; Honisch, 2014; LaCom and Reed, 2014; Metell, 2014; Miyake, 2014; Rickson, 2014; Rolvsjord, 2014; Straus, 2014). The discussion was vivified again in 2018 when a small number of Music Therapists presented at the inaugural Music and Disability Studies Summit at the University of Leeds, entitled ‘Cripping the Muse’ (Allori, 2018; Pickard, 2018b; Pickard and Dower, 2018; Shaw, 2018; Tsiris, 2018).…”

Section: Music Therapy and Disability Studiesmentioning

confidence: 99%

A critical reflection on the Health and Care Professions Council Standards of Proficiency for music therapists: A critical disability studies perspective

Pickard

2020

British Journal of Music Therapy

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This article takes the theoretical and philosophical lens of critical disability studies to critically reflect on the Health and Care Professions Council Standards of Proficiency for Arts Therapists. The discipline of critical disability studies, evolving from disability studies and the disability rights movement, is initially defined before multiple paradigms of disability are introduced as central tenets of these disciplines. The relationship between critical disability studies and music therapy is explored, with reference to seminal publications and the perceptions of music therapy within them. The Health and Care Professions Council Standards of Proficiency are then taken as a source of reflection to attempt to understand the perpetuation of medicalised perspectives in the profession and the potential friction between critical disability studies and music therapy. A selection of the Standards of Proficiency are analysed according to distinct paradigms of disability. Questions are posed to interrogate and contextualise the standards in relation to critical disability studies philosophy. From this critical reflection, a discussion emerges which reflects on the reach of these professional standards and how they might contribute to a continuing, outdated expert-model of music therapy in the United Kingdom. The article concludes by drawing these threads together in a series of recommendations to educators, practitioners and the wider profession.

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Section: Music Therapy and Disability Studiesmentioning

confidence: 99%

A critical reflection on the Health and Care Professions Council Standards of Proficiency for music therapists: A critical disability studies perspective

Pickard

2020

British Journal of Music Therapy

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“…Many studies suggests that music making and performance practices can lead to emergent artistic and empathic exchange through which individuals can form musical group identities and ways to relate to each other and themselves (Andsell, 2010;Stige, 2010;Bakan, 2014;DeNora, 2015).…”

Section: Music As Social Practicementioning

confidence: 99%

Performance without Barriers: Improvising with Inclusive and Accessible Digital Musical Instruments

Samuels

Schroeder

2019

Contemporary Music Review

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Performance without Barriers research group, and currently Programme Manager at Drake Music NI. Koichi is a music researcher and electronic musician. He completed his PhD research on inclusive music in a collaborative study with Drake Music NI and Sonic Arts Research Centre, Queen's University Belfast. His current research and work focus now is in music and social inclusion, creative economy and music technology. Franziska Schroeder is the founder of the 'Performance without Barriers' research group, based at the Sonic Arts Research Centre, Belfast. Funding for ongoing work has been received by the UK's Arts and Humanities Research Council (AHRC), allowing the group to benefit from PhD and post-doctoral researchers and to expand work into emerging technological fields.Franziska is a saxophonist, improviser and senior lecturer at Queen's University Belfast where she teaches digital performance, improvisation, and critical theories. Performance without Barriers: improvisation and accessible digital musical instruments in inclusive music makingThe 'Performance without Barriers' 1 research group (PwB), based at the Sonic Arts Research Centre at Queen's University Belfast has been exploring the potential of sonic arts practices and music improvisation for enhancing social inclusion. To date the group has primarily focussed on research activities related to the inclusive potential of providing access to music improvisation for people with physical disabilities via the use of digital technologies. In this paper we discuss the critical thinking behind our work which draws together the social and connective functions of music making, the open and relational practice of music improvisation and technological solutions utilising open, adaptable and accessible digital technologies. Three case studies of our work are discussed and the voices and experiences of participants in these projects are introduced.In this article we argue that activities in music improvisation have inclusive potential for opening constructive dialogues between performers, their instruments and people of different backgrounds and abilities. Furthermore, as we have approached our research activities reflexively, we reflect on the contradictions, dilemmas and points of learning we have discovered when engaging in collaborative and public engagement work between researchers working in a university context and the wider society.

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“…7. In many ways, this type of approach acknowledges, if tacitly, Michael Bakan's (2014) desire to respect neuro-diversity and more broadly accept difference -perhaps emphasizing the idea that in many instances it is society that needs to learn acceptance.…”

Section: Conclusion and R Onclusions And Rec Ecommendations Ommendmentioning

confidence: 99%

Community Building Through Inclusive Music-Making

Gosine

Hawksley

Quinn

2017

Voices

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Abstr Abstract actThe objective of this project was to expand the boundaries of regular music therapy sessions at a non-profit organization to include performances and workshops with community musicians. The goals and practices used for persons with physical disabilities prepared participants to benefit from inclusive music-making with local community musicians who had no previous music therapy experience, but whose performing styles were closely aligned with the musical preferences of our participants. The four collaborative workshops, which were held over six months, involved music therapy participants, accredited music therapists, local musicians, and volunteers engaging in music making together where teaching and learning was shared amongst all involved. The workshops were also an important mechanism for raising greater awareness of the needs and abilities of the music therapy participants.

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Ethnomusicological Perspectives on Autism, Neurodiversity, and Music Therapy

Cited by 21 publications

References 0 publications

A critical reflection on the Health and Care Professions Council Standards of Proficiency for music therapists: A critical disability studies perspective

A critical reflection on the Health and Care Professions Council Standards of Proficiency for music therapists: A critical disability studies perspective

Performance without Barriers: Improvising with Inclusive and Accessible Digital Musical Instruments

Community Building Through Inclusive Music-Making

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