Researching and writing about music therapy has evolved from an early anecdotal stage through a period of rigorous behavioural research - particularly in the United States - to the present position where many directions could be followed. Outcome research can contribute to the profession's external validity and research into music therapy processes to increased internal validity. This paper argues for a synthesis of these two approaches, implying an integration of quantitative and qualitative analysis. Links with other disciplines are explored but in relation to the development of a coherent individual theory of music therapy.

This paper looks in detail at the events of one individual music therapy session with a physically disabled boy aged seven years. In the context of his case history and his music therapy sessions up to that point, it describes the content and quality of therapist/child musical contact as it changes over the three sections of the session. Musical notation illustrates key passages. Aspects of the development of the physically disabled child are considered and related to the vision the child gives to the music therapist of his predicament. Musical events are conceived of as expressing and as having potential for resolving the child's difficulties in relating to a key figure, and to the environment they share.

The article puts forward a case for using music therapy with handicapped people in a way which allows them to overcome the difficulties they have in expressing their needs. The idea of therapy with the mentally ill being more profound in nature than with the mentally handicapped, is discusses and argued against. The article pursues this theme by considering the relationship between what a handicapped person first presents in the therapy session and what is beneath. The aim of music therapy is therefore to reach those aspects lying beneath the surface. A brief case study is given in order to further illustrate these ideas.

Verbal material is inevitably encountered in adult psychiatry. This paper describes and discusses an approach to music therapy which admits of this, seeks to understand its significance and to use it in the service of therapy. The origins of the approach are considered and elements of theory and technique derived from group analysis and psychotherapy and their application are described and discussed. The therapist's verbal and musical role is considered in the light of this and conclusions are drawn as to the advantages and insights gained by the adoption of the approach.

Patients in hospitals frequently have little choice about attending music therapy sessions. This, in addition to the novelty of music therapy as a treatment, may make both patient and therapist uncomfortable. The patient is unsure as to what to expect, and the music therapist uncertain as to how much to say - or leave unsaid. This article draws on the author's experience as a music therapist in a small adult psychiatric hospital. It is an attempt at examining the pre-musical moment at the time when both the patient and the music therapist are engaged in sharing their expectations and anxieties, and in negotiating a resolution before the musical-therapeutic process can begin.