What Does the Past Tell Us? A Content Analysis of the First Quarter-Century of the British Journal of Music Therapy (p4-24)
Professional Journals have a legitimating and sanctioning role in the development of disciplinary knowledge, as well as professional practices and identities. The British Journal of Music Therapy (BJMT) –the only UK-based peer-reviewed music therapy journal – has portrayed research, theory and accounts of practices, reflecting trends and developments in the field of music therapy since 1987. Marking the 25th anniversary of the BJMT and looking into its future development, a content analysis of the journal since its inception (1987–2011) was conducted with the aims of (i) tracing trends and developments of music therapy praxes and professional identities, and (ii) exploring the journal’s engagement with disciplinary discourses and practices alongside and beyond those of music therapy. The study provides an overview of the BJMT in terms of 1) paper types, 2) authorship: numbers and professional titles, 3) countries of project sites and countries of authors, 4) sample conditions, sizes and ages, 5) formats of practices, and 6) models and themes. The results show that the majority of the articles published in the BJMT are theoretical, focus on one-to-one sessions, are single authored by music therapists and are UK-focused in terms of authorship, project site and models. This study brings to the fore questions for the future development of music therapy as profession and discipline.
Keywords: British Journal for Music Therapy, content analysis, peer-reviewed journal, profile
"No Maths, No Physics (So I Spray My Bars with Lyrics)": Rap/Music Therapy with Young Men at a Young Offender Institution (p25-35)
This paper describes work undertaken at a young offender institution, focusing on the therapeutic use of improvised or ‘freestyle’ and original rap. In particular it uses material and analysis pertaining to two individuals who formed part of a slow open group for outpatients detained in the main prison.
A background to the work sets the scene. Next the author details the role of this specific form of therapy within the institution addressing the aims of the work and the background of the clients. The main body of the paper examines the nature of this work from a psychodynamic perspective, incorporating concepts of Klein, Winnicott, Holmes and Bowlby. This relates to the setting, client group and the use of rap as a therapeutic intervention, with focus on original rap lyric-writing and the stylistic and cultural connotations of the genre. Original lyrics and therapeutic techniques specific to clients are drawn upon and discussed.
Key words: Attachment theory, culturally appropriate music therapy, improvised lyrics, rap, young offenders
A Response to Christine Atkinson’s Essay “‘Dare we speak of love?’ An Exploration of Love Within the Therapeutic Relationship” (p36-39)
Susan Hadley: Experiencing Race as a Music Therapist: Personal Narratives (p40-42)
Jo Tomlinson, Philippa Derrington and Amelia Oldfield (eds): Music Therapy in Schools: Working with Children of All Ages in Mainstream and Special Education (p43-46)
Colin Andrew Lee and Marc Houde, with contributions from Carolyn Arnason, Diane Austin, Rosemary Fischer, Janet Graham, Ian Hayter, Monique McGrath, Ruth Roberts, Sung-Yong Shim and Michelle Song: Improvising in Styles: A Workbook for Music Therapists, Educators and Musicians (p47-50)
Joseph Pinson: Involving Senior Citizens in Group Music Therapy (p51-53)