Music Therapy for Handicapped Children
Identifieur interne : 000A54 ( Istex/Corpus ); précédent : 000A53; suivant : 000A55Music Therapy for Handicapped Children
Auteurs : Erwin H. SchneiderSource :
- Music educators journal [ 0027-4321 ] ; 1966-06.
English descriptors
- Teeft :
- American music education, American schools, Analytical skill, Autistic children, Available texts, Best part, Brilliant mind, Cadence evasion, Choral literature, Clinical studies, Clive robbins, Comprehensive organization, Conservatory student, Coral music therapy, Creative techniques, Dull rehashings, Early experiences, Educational music field, Elementary classroom, English school, European establishment, European institutions, Examination copies marks music corporation, Exceptional knowledge, Fancy symbols, First time, Frederick university florida, French madrigals, Fresh english translations, Friedrich blume, Group activities, Half truths, Hard reading, Harmonic idioms, Healthy philosophy, Human relationships, Illustrations range, Important sections, Initial work, Introductory offer, Irregular phraseology, Isaac string method value, Jacques clement, Large number, Large portion, Luca marenzio, Lucida stella, Maidens philippe, Many decades, Many possibilities, Many variations, Many years, Modern editions, Music education, Music educators, Music study, Music theory, Music therapists, Music therapy, Music therapy technique, Musical form, Musical illustrations, Nordoff, Official letterhead, Ohio state university, Opening essay, Orazio vecchi, Original research, Ostinato patterns, Pathological behavior patterns, Paul nordoff, Phrase components, Piano music, Principal developer, Psychotic children, Questions spring, Response patterns, Richer personalities, Rudolf steiner publications, Satb cappella, Separate subject, Serious student, Severe brain damage, Similar homes, Smaller units, Such statements, Sunfield home, Superficial manner, Texts fall, Textual content, Therapeutic significance, Thorough scholarship, Tonal music, Turtle dove, Useful information, Vast realm, West jefferson kirkwood, Yankee doodle.
Url:
DOI: 10.2307/3390725
Links to Exploration step
ISTEX:6C62E898B62FE157FC2AA50D617557C2780C8D58Le document en format XML
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<pub-date pub-type="ppub"><month>6</month><year>1966</year></pub-date><volume>52</volume><issue>6</issue><fpage>93</fpage><lpage>94</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>June/July 1966</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Wiora’ s broad-mindedness and erudition are so often obscured by his rigid adherence to abstract models and by clumsy writing. W e can congratulate Chailley on the liveliness of his polemic, and on his striking title, and only regret that they have so little to do with one another. But neither The Four Ages nor 40, 000 Years is for the reader who is looking for an objective survey. The ideal reader of both is one who brings to them a familiarity with general prehistory, history, and anthropology, as well as the history of Western music and ethnomusicology. This is not because either one depends on such knowledge for comprehensibility, but because the speculative slant of both ought to be met critically. Any survey of world music that combined Wiora’ s perspective with Chailley’ s grace of language would be a very good one indeed. Until such a book comes along, the cautious reader who is primarily after stimulus, and not information, will find it in good measure in both these volumes. –DAVID L. BURROWS, Assistant Pro- T H E C O N D U C T O R ‘ S A R T. Edited with an introduction by Carl Bamberger. Illustrated by B. F. Dolin. New York: Mc Graw-Hill, Inc., 1965. 322 pp. Hard cover, $ 6.50; paperback, $ 2.45. In this era, so strongly dominated by the performing arts, the predominant performer among them is the conductor. His gradual emergence paralleled the steady increase in the size of the orchestra. Arrival at this present Olympian position is comparatively recent and the conductor was vaulted there on the pole of rhythmic and harmonic complexity now viewed as the inevitable course of composition. The endeavor which we call conducting is little understood. The public, in its misapprehension of what one of its most convincing practitioners, William Steinberg, calls an “… irrational vocation…”, is blind to the facts. To Mr. Steinberg, “ The irrationality of the vocation of conducting is obvious simply because one does not do things by oneself, but makes other people do them–which means the motive of one’ s own responsibility is entirely eliminated–and yet the conductor is held responsible for the doings of others. This peculiar contradiction imposes upon the conductor a false position as regards both the music and the audience. Is there any solution for this dilemma? I do not think so.” These are the most direct thoughts of all which are set forth in this compilation of twenty-six writings on conducting which span almost a century and a half of music making. The words of wisdom by these conductors are both reflection and confession. Berlioz laments instrumental incompetence; Schumann writes with eloquence of “ this… distraction for the listener [who] can only be condoned as a necessary evil;” Wagner gives lessons in interpretative musicianship reflected in his own personal absorption while producing other men’ s music; Stokowski could never write as incomparably as he conducts, nor could Bernstein or Ormandy. The best-written pieces are by William Steinberg and Hermann Scherchen, but there is much for those of curiosity to glean from the words of Bruno Walter, Serge Koussevitzky, Felix Weingartner, or William Furtwangler. Notably absent in the book are any comments or writings by Pierre Monteux and George Szell, both of whom assumed more than their share of responsibility for the proper transference of the conductor’ s art to younger men. It will come as no surprise to educators to know that no space in this MUSIC EDUCATORS JOURNAL fessor of the History of Music, School of Music, Yale University, New Haven, Connecticut. (Sound “ Proof Consider the La V o z reed; fashioned from selected cane, aged for years and crafted to a point of excellence. Consider it the finest reed money can buy. Then prove it. Play it. La V o z reeds. A t better music dealers. A n d on clarinet and s a x o p h o n e m o u t h pieces of the world’ s great artists. 92 book is given to the conductor in American music education. Perhaps Mr. Bamberger (b. Vienna 1902), who has lived in the United States since 1937, elected to treat this as a separate subject in another book. A b sence of any contribution to this volume from the vast realm of conducting that exists in American schools can hardly go unnoticed: the conductor’ s art is also practiced there. Maintenance of the European establishment as the controlling force in American musical life is still a full-time job to many influential people. Mr. Bamberger’ s opening essay is perhaps the best part of the book, presenting the evolution of the conductor’ s art in meaningful historic panorama; here is a comprehensive organization of facts which should be known to all who read this Journal. When, and if, Mr. Bamberger’ s publishers consider a revised and enlarged edition it will certainly have to include chapter twenty-seven of Gregor Piatigorsky’ s marvelous book, Cellist (Doubleday, 1965) for here are words no book on the conductor’ s art–nor any conductor–can ignore. –FREDERICK FENNELL, Conductor, the Continent, and through clinical studies at the Institute of Logopedics in Wichita, Kansas, and more recently in the Department of Psychiatry, The University of Pennsylvania. A large portion of the book is devoted to the author’ s early experiences in developing the techniques in European institutions. The most important sections of the book are those which attempt to detail the techniques utilized in the clinical setting. T w o sections devoted to photographs of children in the clinical environment–in some instances a type of time-lapse photography–give added meaning to the textual content of the volume. Dr. Nordoff, the principal developer of this music therapy technique, is a trained composer who became interested in music therapy while visiting England. The co-author, Clive Robbins, was a teacher in the English school first visited by Dr. Nordoff. Although the concepts presented in this work are not always as clear as one might wish them, and while some activities as described are more meaningful when observed in action, those sections describing the techniques utilized by Dr. Nordoff and Mr. Robbins would seem to be required read- REDISCOVERED MADRIGALS Edited by Don M a l i n SATB a cappella ome of these Italian and French madrigals are appearing for the first time in modern editions. Others, though published many years ago, had fallen into oblivion. They are, in a sense, “ rediscovered” and are presented here with new and fresh English translations. University Florida. of Miami, Coral Gables, MUSIC THERAPY F O R H A N D I CAPPED C H I L D R E N: Investigations and Experiences. By Paul Nordoff and Clive Robbins. Blauvelt, New York: Rudolf Steiner Publications, 1965, 150 pp., $ 5.00. The development of a technique for using music as a non-conflictual entrance into the consciousness of autistic children and children with severe brain damage aptly describes the contents of this book. The technique involves the composing and improvisation of music in terms of the actions and reactions of children during clinical musical settings. The authors have developed, from work with one hundred and forty-five children, a list of thirteen response patterns to improvised piano music. They report that, “ improvised music with psychotic children has diagnostic and therapeutic significance…. Improvised music can establish communication, develop human relationships, initiate or extend speech, dispel pathological behavior patterns, and so build stronger, richer personalities.” The development of this technique (which is too involved and complicated to specify here) is traced through the author’ s initial work in 1958 at the Sunfield Children’ s Home in Worcestershire, England, through twenty-six similar children’ s homes on JUNE-JULY, NINETEEN SIXTY-SIX on Malin has been associated with the educational music field for many years. His name is known to music educators throughout the country. He has an exceptional knowledge of choral literature and is the editor of many outstanding collections. Orazio Vecchi I A M THE PHOENIX (lo son fenke) Luca Marenzio AH! WEARY AM I (Ma per me lasso) (Dissi a Vamata mia lucida stella) HEAR ME N O W, BELOVED Jacques Clement COME N O W, YE MAIDENS Philippe D e Monte LIKE AS T H E each 25 write Dept. M-4 on official letterhead for examination copies TURTLE DOVE (Comme la tourterelle) MARKS MUSIC CORPORATION 136 W e s t 5 2 n d S t r e e t, N e w Y o r k, N.Y. 1 0 0 1 9 93 book is given to the conductor in American music education. Perhaps Mr. Bamberger (b. Vienna 1902), who has lived in the United States since 1937, elected to treat this as a separate subject in another book. A b sence of any contribution to this volume from the vast realm of conducting that exists in American schools can hardly go unnoticed: the conductor’ s art is also practiced there. Maintenance of the European establishment as the controlling force in American musical life is still a full-time job to many influential people. Mr. Bamberger’ s opening essay is perhaps the best part of the book, presenting the evolution of the conductor’ s art in meaningful historic panorama; here is a comprehensive organization of facts which should be known to all who read this Journal. When, and if, Mr. Bamberger’ s publishers consider a revised and enlarged edition it will certainly have to include chapter twenty-seven of Gregor Piatigorsky’ s marvelous book, Cellist (Doubleday, 1965) for here are words no book on the conductor’ s art–nor any conductor–can ignore. –FREDERICK FENNELL, Conductor, the Continent, and through clinical studies at the Institute of Logopedics in Wichita, Kansas, and more recently in the Department of Psychiatry, The University of Pennsylvania. A large portion of the book is devoted to the author’ s early experiences in developing the techniques in European institutions. The most important sections of the book are those which attempt to detail the techniques utilized in the clinical setting. T w o sections devoted to photographs of children in the clinical environment–in some instances a type of time-lapse photography–give added meaning to the textual content of the volume. Dr. Nordoff, the principal developer of this music therapy technique, is a trained composer who became interested in music therapy while visiting England. The co-author, Clive Robbins, was a teacher in the English school first visited by Dr. Nordoff. Although the concepts presented in this work are not always as clear as one might wish them, and while some activities as described are more meaningful when observed in action, those sections describing the techniques utilized by Dr. Nordoff and Mr. Robbins would seem to be required read- REDISCOVERED MADRIGALS Edited by Don M a l i n SATB a cappella ome of these Italian and French madrigals are appearing for the first time in modern editions. Others, though published many years ago, had fallen into oblivion. They are, in a sense, “ rediscovered” and are presented here with new and fresh English translations. University Florida. of Miami, Coral Gables, MUSIC THERAPY F O R H A N D I CAPPED C H I L D R E N: Investigations and Experiences. By Paul Nordoff and Clive Robbins. Blauvelt, New York: Rudolf Steiner Publications, 1965, 150 pp., $ 5.00. The development of a technique for using music as a non-conflictual entrance into the consciousness of autistic children and children with severe brain damage aptly describes the contents of this book. The technique involves the composing and improvisation of music in terms of the actions and reactions of children during clinical musical settings. The authors have developed, from work with one hundred and forty-five children, a list of thirteen response patterns to improvised piano music. They report that, “ improvised music with psychotic children has diagnostic and therapeutic significance…. Improvised music can establish communication, develop human relationships, initiate or extend speech, dispel pathological behavior patterns, and so build stronger, richer personalities.” The development of this technique (which is too involved and complicated to specify here) is traced through the author’ s initial work in 1958 at the Sunfield Children’ s Home in Worcestershire, England, through twenty-six similar children’ s homes on JUNE-JULY, NINETEEN SIXTY-SIX on Malin has been associated with the educational music field for many years. His name is known to music educators throughout the country. He has an exceptional knowledge of choral literature and is the editor of many outstanding collections. Orazio Vecchi I A M THE PHOENIX (lo son fenke) Luca Marenzio AH! WEARY AM I (Ma per me lasso) (Dissi a Vamata mia lucida stella) HEAR ME N O W, BELOVED Jacques Clement COME N O W, YE MAIDENS Philippe D e Monte LIKE AS T H E each 25 write Dept. M-4 on official letterhead for examination copies TURTLE DOVE (Comme la tourterelle) MARKS MUSIC CORPORATION 136 W e s t 5 2 n d S t r e e t, N e w Y o r k, N.Y. 1 0 0 1 9 93 ing for all music therapists. Here is an approach to music therapy which seems to suggest many variations and innovations, and which offers many possibilities for additional clinical studies. Music educators would find interesting and useful information in those sections concerned with “ children’ s songs” and “ group musical activities.” The creative techniques utilized in the group activities would be applicable and equally useful in the elementary classroom. –ERWIN H. SCHNEIDER, Professor and Chairman, Division of Music Education, The Ohio State University, Columbus. FORM IN TONAL MUSIC. By Douglass Green. New York: Holt, Rinehart and Winston, Inc., 1965. 320 pp. Musical illustrations and graphs, appendix and index. $ 8.75. There are three kinds of textbooks in the field of music theory: (a) The hastily written sort, fabricated under the threat of “ publish or perish.” Yearly, at least 50 per cent of the market is being flooded by these unimaginative, unprovocative, and dull rehashings of earlier told untruths, half truths, and old fashioned views, (b) The kind in which the author assumes that the college or conservatory student has a vocabulary of more or less a thousand words and an I.Q. below 85. These “ torches of enlightenment” are richly illustrated, to be sure, and the illustrations range from “ Yankee Doodle” to “ Turkey in the Straw.” At least 45 per cent of the market seems to be dominated by these “ easy to learn, easy to grasp” kindergartenin-college spoonfeeders. (c) The very few works of excellent and thorough scholarship, and healthy philosophy–the kind that need no fancy symbols, jargon, or specially fabricated terminology, and which serve no purpose but to annoy the serious student and confuse the dim-witted. Judging by the quality of a large number of available texts, it seems that form is the Cinderella in music study. Compared to works dealing with textures, harmonic idioms, or instrumentation, most of these texts fall hopelessly short as far as original research and insight are concerned. The subject is dealt with in a most superficial manner and it is not surprising to hear students trained by these manuals (and often their mentors, too) make the statement, “ This piece has no form,“ or ask the question, ” Does it have any form?“ Obviously such statements or questions spring from minds indoctrinated by the idea that music is cast into a few molds sent to us from Olympus, and what does not fit into these molds, is bad form or has no form at all. It does not require a particularly brilliant mind to recognize or write about the larger structural units, but it certainly requires a well developed analytical skill to deal with the smaller units such as motives, their development, phrase components, phrases and their curves, and the result and ” meaning“ of devices such as cadence evasion, ostinato patterns, regular, and irregular phraseology, and so forth. The most original, thorough, and thought-provocative writing on musical form that I have come across of late is the article by Friedrich Blume in Die Musik in Geschichte und Gegenwart and this book by Douglass Green. The former is hard reading, even for readers fluent in German, but it is a most stimulating piece of scholarship, calling loudly for a translation. The latter is bound to become a classic and remain one for many decades to come. The author has taken his task very INTRODUCTORY OFFER One Set of the B u r t o n Isaac String Method $ 5.00 Value SET INCLUDES: 1-VI0LIN 1-VIOLA 1-CELLO 1-BASS Four Books For $ 2.00 postpaid Mel Bay Publications Inc. 107 WEST JEFFERSON KIRKWOOD, MO. 63122 Just Sign & Send 94 MUSIC EDUCATORS JOURNAL </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Music Therapy for Handicapped Children</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Music Therapy for Handicapped Children</title></titleInfo><name type="personal"><namePart type="given">Erwin H.</namePart><namePart type="family">Schneider</namePart><affiliation>Professor and Chairman, Division of Music Education, The Ohio State University Columbus</affiliation></name><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1966-06</dateIssued><copyrightDate encoding="w3cdtf">1966</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1966</date><detail type="volume"><caption>vol.</caption><number>52</number></detail><detail type="issue"><caption>no.</caption><number>6</number></detail><extent unit="pages"><start>93</start><end>94</end></extent></part></relatedItem><identifier type="istex">6C62E898B62FE157FC2AA50D617557C2780C8D58</identifier><identifier type="ark">ark:/67375/M70-054M7240-V</identifier><identifier type="DOI">10.2307/3390725</identifier><identifier type="ArticleID">10.2307_3390725</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/6C62E898B62FE157FC2AA50D617557C2780C8D58/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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