Crowe, B. (2004). Music and soulmaking: Toward a new theory of music therapy. Lanham, MD: Scarecrow. 436 pages. ISBN 0-8108-5143-1. $54.95

Abstract

Crowe, B. (2004). and soulmaking: Toward a new theory of music therapy. Lanham, MD: Scarecrow. 436 pages. ISBN 0-8108-5143-1. $54.95. As practitioners who use music as principal therapeutic agent, I believe that we enter into our work with certain beliefs, expectations, and intentions. We often carry a knowing about what potential of our therapeutic medium can do. Sadly, seldom do these knowings form foundation of solid science and research nor are we able to communicate to scientific what we see before our very This new offering by Barbara Crowe is an effort to bring understanding to very that we experience in therapeutic setting, not from an empirical, research-based perspective, but from a much broader and more inclusive model that embraces very nature of reality. Based on relatively new field of science, Crowe provides a new paradigm with which we can view impact of music on whole person. This paradigm goes beyond traditional models of research; it reaches past basic need to know every inch of what is going on before our very eyes. Professor Crowe, when stating that empirical method (of research) leaves out a large body of human experience, concurs with earlier writings by Bruscia that suggest that reducing human beings to one or two dimensions overlooks of subjective experience. Both authors acknowledge that we are much more than one- or two-dimensional objects. Determinism simply does not recognize our uniqueness as a species, particularly as it relates to of subjective experience. Crowe states that . . music can be therapeutic, but reducing this process to only small, measurable effects does not explain what is really happening. therapy must be looked at as a whole process in all its frustrating, beautiful complexity (p. xv). Complexity science may be considered the science of real, practical, messy world (p. 31 ). When understood this way, we can begin to see a validation of music therapy process (which is often messy in and of itself), not from a neat, linear, and empirically scientific viewpoint, but from a position that focuses on hidden patterns, nuances in complex systems, and sensitivity of real things (p. 30). In discussing process of music therapy, Crowe recognizes that through view of science, music therapy is not a simple sum of its parts, rather it is a complex process that, when fully manifest, results in new that are novel features of this process, yet fully separate of its constituent parts. In case of therapeutic intervention through music, these new emergent properties may well be in areas of body, mind, emotion, or spiritual growth. Professor Crowe addresses specific areas where music therapy has a strong history. Her research is extensive and thorough, and there is little if any relevant research that has gone untouched in building her case toward her new theory of music therapy. As she reviews Music Therapy and Problems of Brain and Mind (Chapter 4), her details around brain and brain structure are very well written. Integrated into this discussion is impact of sound on brain as well as a fine coverage of extant research within our profession. Again, through view of science, Crowe demonstrates potential impact of music and music therapy on functioning of brain and mind, be it through cognitive rehabilitation, sensory integration, or enhancement of elusive principles of consciousness itself. When discussing Music Therapy and Problems of Body (Chatper 5), and Soulmaking considers wide range of possibilities under this heading. Included is a discussion of music and medical specialties, brain chemistry, motor rehabilitation as well as vibroacoustics. Much to her credit, Crowe does not discriminate between traditional practices within our field and new and emerging models of music and health. …