This article considers questions concerning the ontology of music in relation to music therapy. Contemporary musicology emphasises the cultural context of music and the role of individual experience and interpretation. The concepts of musical affordance and music appropriation offer a representation of music centred around the contextually situated individual without neglecting the aesthetic qualities inherent in musical structure and performance. This article considers music as a potential health resource that can be accessed and used in multiple ways, linking this with a contextual approach to therapy. Political implications are discussed in relation to the accessibility and power of music in music therapy.

The phrase "woman to woman" implies that relationships between women have particular qualities and levels of understanding that value the female perspective (Gilbert & Scher 1999). This case study describes my experience as a female music therapist and pianist working for four years with Sarah (pseudonym), a physically challenged, intelligent woman who is non-verbal. Salient aspects of the improvisational music therapy sessions were use of self as music therapist, building a collaborative relationship, working with subtle and non-verbal responses, interpretive flexibility and musical transparency. There were also dimensions of the therapeutic process that enlarged the musical relationship such as silence, "being heard and seen", comradeship, mutuality, being in connection, ambiguity, vulnerability and inner resources. The psychology of women literature focuses on gender and its influence on women's development in regards to race, sexual orientation, socioeconomic standing, age and able-bodiedness. The analysis of 103 one-hour sessions was informed by the feminist and psychology of women perspectives of growing into relationship, movement in therapy and the power to empower (Hadley & Edwards 2004; Jordan 1997; Lawrence & Maguire 1997; Miller & Stiver 1997; Rolvsjord 2004).

nfants admitted to the acute care context (within Neonatal and Paediatric Intensive Care Units) are subject to continuous and intensive medical, nursing and allied health care. Within this context, the role of the mother is altered and parent-infant attachment is potentially compromised. This article focuses on the application of infant-directed singing (improvised vocalising in response to the infant's cues) as a means of supporting the mother's desire to interact with her infant. Specifically, it is suggested that Bowlby's four interrelated therapeutic tasks provide the therapist with a framework for supporting the mother in infant-directed singing and that, in turn, this impacts upon the infant's experience of its environment (understood via Winnicott's description of the 'facilitating environment' and the functions of the 'good-enough mother'). As such, the therapist provides 'reliable' and 'helpful' care to the mother, who in turn provides a similar quality of care to her infant. A theoretical understanding of this process underlines the significance of the mirror-role in both parent-infant interaction and therapeutic process.

Adolescence is a unique and challenging period of growth, change and possible turmoil as a young person transitions towards adulthood. The capacity to provide quality parenting at this time is likely to be compromised because the teenage mother simultaneously experiences the challenges of adolescence and first time parenthood. Research suggests that teenage mothers are significantly less supportive, more detached, more intrusive and more negative/hostile, when compared to older mothers, and may be less able to provide a stimulating learning environment. Sing & Grow is a national early intervention music therapy project provided by Playgroup Associations and funded by the Commonwealth Government of Australia. The project provides 10 weekly group music therapy sessions to parent and child (aged 0 - 3 years) dyads from families in communities identified as marginal as a result of various circumstances, including adolescent and young parenthood. Outcomes of clinical programmes conducted to date show that the central provision of music has been successful in promoting a range of non-musical parenting outcomes for adolescent and young mothers. This includes observed increases in their repertory of skills in relating to and interacting with their child in more gentle and nurturing ways.

This article explores ideas around the potential value of pleasure within music therapy processes. It sets out to review and develop theory through the use of an abductive approach whereby texts are related to clinical experience and empirical material. As an initial context for the exploration, the music therapy literature is searched for reflections on pleasure. The question of whether pleasure is worth pursuing is addressed through a brief exploration of some relevant texts in Western philosophy and psychology. These literature reviews suggest that there is need for more exploratory and reflective work on pleasure with music therapy. As a contribution to this, material from a qualitative research interview with a client is presented. This material is seen in relation to relevant theories on music, mood and emotion, and implications for music therapy theory and practice are then examined.