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The Nordoff–Robbins approach to music therapy is a method developed to help children with psychological, physical, or developmental disabilities. [1] It originated from the collaboration of Paul Nordoff and Clive Robbins, [2] which began in 1958, [3] with early influences from Rudolph Steiner and anthroposophical philosophy and teachings. [4]
Music therapy may be suggested for adolescent populations to help manage disorders usually diagnosed in adolescence, such as mood/anxiety disorders and eating disorders, or inappropriate behaviors, including suicide attempts, withdrawal from family, social isolation from peers, aggression, running away, and substance abuse.
Methodical means that music therapy always proceeds in an orderly fashion. It involves three basic steps: assessment, treatment, and evaluation. Treatment is the part of a music therapy process in which the therapist engages the client in various musical experiences, employing specific methods and in-the-moment techniques.
Audio therapy is the clinical use of recorded sound, music, or spoken words, or a combination thereof, recorded on a physical medium such as a compact disc (CD), or a digital file, including those formatted as MP3, which patients or participants play on a suitable device, and to which they listen with intent to experience a subsequent beneficial physiological, psychological, or social effect.
Mary Priestley (4 March 1925 – 11 June 2017) was a British music therapist. She has been credited for development of analytical music therapy (AMT), one of five models recognized by the World Congress of Music Therapy in 1999. [1]
Music therapy is introduced into the medical field for treating sleeping disorders following scientific experimentations and observations. Compared to other pharmacological methods for improving sleep, music has no reported side effects [ 3 ] and is easy to administer. [ 4 ]
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In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". [1] The earliest known examples of this procedure (sometimes referred to as ''adaptation'') date back to the 9th century used in connection with Gregorian chant.