Humour in music therapy: A narrative literature review

Abstract

Introduction: Humour is a highly prevalent but little understood phenomenon. In music therapy, experiences of humour are not well documented yet anecdotally widespread. Method: A narrative literature review was conducted to identify, critically analyse and synthesise literature related to humour in music therapy. Literature was sourced from multiple music therapy journals, bibliographic databases, electronic databases and books from the earliest available date until June 2018 using the key terms of humour/humor. Results: Two empirical research studies that focussed on humour in music therapy were identified and references to humour were found in over 130 articles. Humour in music therapy was evidently taken for granted as a phenomenon with relationship-building effects. In addition, references to humour came overwhelmingly from music therapists' point of view. Despite one comprehensive research study exploring humour in music therapy, a lack of investigation into reciprocal experiences of humour and how this is "played out" through improvisation was identified. Discussion: This review surfaces a phenomenon that is ubiquitous yet under-researched in music therapy. In general, a kind of insider-knowledge appears necessary for humour to be shared; yet the ambiguity inherent in humour means that music therapists can encounter risk in using or engaging with it in their work. These findings have led directly to further research into reciprocal embodied experiences of humour and improvisation in music therapy.

Thinking Through Improvisation

“…References to humour were made almost exclusively from music therapists' points of view, and the lack of exploration into reciprocal experiences of humour and how this is played out through improvisation was identified. In the diverse range of literature reviewed, along with a focus on descriptions and meanings of humour in their work, music therapists were found to be most concerned with the consequences of humour in music therapy; what it did (Haire & MacDonald, 2019). The present study invites exploration beyond the functions of humour in music therapy and leans into embodied and relational experiences of humour in music therapy.…”

“…However, the multifaceted, multimodal, ineffable and subjective nature of humour along with its relational complexity require innovative methods to capture or interpret it meaningfully (McCreaddie & Payne, 2012). Perhaps as a result of this complexity and ambiguity, there is a lack of focused research on humour as an isolated experience in music therapy (Amir, 2005;Haire & MacDonald, 2019;Haire & Oldfield, 2009) and even less around humour in music therapy with persons living with dementia. In the arts therapies generally, there have been a small number of studies exploring humour.…”

“…In a recent literature review (Haire & MacDonald, 2019), humour was cited as a fundamental aspect of music therapy work despite the fact it has not been widely studied (Amir, 2005;Haire & Oldfield, 2009). From 130 articles reviewed, humour was generally referred to only in passing and found to be largely taken for granted in music therapy sessions as a positive phenomenon with relationship-building effects.…”

“…The place of humour in psychotherapy has drawn interest since Freud (1928Freud ( ,, 1976) first began to develop his thinking. However, the unpredictability and ambiguity of humour can make it a risky endeavor which generally encourages caution in a therapeutic context (Haire & MacDonald, 2019;Haire & Oldfield, 2009;Shearer, 2016).…”

Book Review: Karette Stensaeth, Responsiveness in Music Therapy Improvisation: A Perspective Inspired

“…Stensaeth identifies enjoyment as a fundamental part of the improvisational musical encounter, wondering aloud if music therapists are all but jesters? Her exploration of Bakhtin’s carnival and its relation to improvisation was of particular interest given my own research in embodied experiences of humour in music therapy (Haire and Oldfield, 2009; Haire and MacDonald, 2019). Bakhtin’s carnival embraces a societal suspension of reality, ideas of chaos, bawdy humour, rule-breaking and an unashamed celebration of the body and all its pleasures.…”