Gardstrom, S. C. (2007). Music Therapy Improvisation for Groups: Essential Leadership Competencies. Gilsum, NH: Barcelona. 180 pages. ISBN 1-891278-49-5. $29.00

Abstract

Gardstrom, S. C. (2007). Music Therapy Improvisation for Groups: Essential Leadership Competencies. Gilsum, NH: Barcelona. 180 pages. ISBN 1-891278-49-5. $29.00. Music Therapy Improvisation for Groups: Essential Leadership Competencies is the newest text focusing on clinical improvisation. The impetus for this book came from Gardstrom's desire to offer a course in group improvisation and her inability to find a suitable text. This led Gardstrom to develop her own course content and sequence, which she modified over several years based on feedback from her students and recent graduates. This process, succinctly described in the introductory chapter, culminated in the development of competencies for clinical improvisation (found in Appendix A) and the publication of this text. The remaining chapters of the book are arranged in hierarchal order, each covering one particular aspect of clinical improvisation. Chapters 2 through 4 serve as the foundation upon which the rest of the book is built. The vocabulary used in clinical improvisation is defined in Chapter 2, Terms and Nomenclature. Gardstrom thoroughly discusses the differences between method, procedure, and technique, terms that are commonly used interchangeably. Additionally, she also provides a very clear explanation of the difference between clinical improvisation and drum circles. This distinction is important not only for students but for the profession as well as we continue to seek to differentiate music therapy interventions from other types of therapeutic music. Chapter 3, Instruments of Improvisation, is more than a narrative describing the instruments used in clinical improvisation. Topics covered in this chapter include suggestions for 1) selecting instruments for use in clinical improvisation, 2) arranging the environment, and 3) presenting the instruments to group members. Two sections within this chapter bear special mention. First, Gardstrom points out potential hazards some instruments may possess for certain client groups. The information contained in this section may be especially important for young therapists to consider. Second, she includes a brief discussion of the instrument the therapist will play during a group improvisation. This section seems incomplete when compared to the rest of the information contained in the chapter. While the quote from Towse & Roberts provides an academic explanation as to the effect instrument choice may have on group process, an actual clinical vignette would have made the relevance of this issue clearer, especially for students. Chapter 4, Musical Elements of Improvisation, reviews the fundamental building blocks of clinical improvisation. As in previous chapters, each musical element is carefully defined. This is followed by a brief discussion of the elements use and clinical significance in improvisational music therapy. Gardstrom also includes a table in which all the scales and modes commonly used in improvisation are listed. Appendix D supplements the information provided in this chapter with suggested chord progression for improvisation which can be played on either piano or guitar. Taken together, these chapters provide the reader with a foundation upon which to develop a basic understanding of and proficiency in clinical improvisation. Gardstrom has defined several key terms that are used in clinical improvisation. In reading these chapters, it is quite evident that she researched the music therapy literature and gave considerable thought to each term's definition. This thoughtful consideration of terms and their meanings is not uniformly found in the music therapy literature. Hopefully authors will be inspired to follow her lead. Chapters 5 through 8 present an overview of facilitative skills, those abilities a music therapist should master in order to successfully facilitate an improvisation group. Chapter 5, Structures for Improvisation, invites the reader to consider the structure needed for 1) the overall session and 2) each improvisation experience. …