Grocke, D., & Wigram, T. (2007). Receptive Methods in Music Therapy: Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students. London and Philadelphia: Jessica Kingsley. 271 pages. ISBN 1-84310-413-X. $34.95

Abstract

Grocke, D., & Wigram, T. (2007). Receptive Methods in Music Therapy: Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students. London and Philadelphia: Jessica Kingsley. 271 pages. ISBN 1-84310-413-X. $34.95. I began reading Receptive Methods in Music Therapy: Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students, by Denise Grocke and Tony Wigram with a sense that I already knew what the book would contain. I expected a description of a number of techniques in which clients listen to music. I assumed that there would be some suggestions about selections of music and for what occasions. I supposed that each chapter would be a description of a different overall method. Given my rather dry vision of what such a book would include, it is good that I did not write this book but that Denise Grocke and Tony Wigram did because their product is far from dry. It does include a description of techniques. It also includes many more aspects of what a music therapist does-whether working with receptive or techniques-than nearly any book of which I am aware. It includes clinical applications and vignettes. It includes analyses of numerous techniques and tables outlining various adaptations of methods. And it does all of this while conveying the idea that music therapy is a complex matter, which will be aided by what is in the book. I found it stimulating and even inspiring! The book contains an introduction and 10 chapters. The introduction presents an overview of the book's contents, and the first two chapters provide material that is of use and interest to music therapists using receptive as well as techniques. Chapter 1, Engaging with Clients Verbally and Musically, includes sections on beliefs and values that impact on interaction with patients, verbal processing of client's experiences in music therapy, and empathic improvisation for nonverbal clients. These sections give a sense of the breadth of the material included in the book. In the section on beliefs and values, the authors ask readers to examine their own be liefs and values and the impact these have on their therapeutic interactions, and they include several exercises to assist in this process. The section on verbal processing could be the basis for an entire semester's work. The authors include references to what others have written on the subject, a comparison of verbal processing in counseling and in music therapy, a model for showing empathy, a description of verbal processing skills, and a comparison of effective and poor listening skills. They present focused questions that might be asked and the responses that they might elicit, several clinical vignettes utilizing verbal processing skills, and some example exercises from clinical practice followed by suggested responses in these situations. This section on verbal processing is indeed full and rich! The third section of this chapter, on empathic improvisation for nonverbal clients, includes three ways-preverbal, nonverbal, and supraverbal-in which music can be used in place of verbal language for clients who have limited or no verbal communication. Chapter 2, Selecting Music for Receptive Methods in Music Therapy, includes sections on differences between music for relaxation and music for stimulating imagery, characteristics of music for receptive music therapy, when selecting music for receptive methods, assessing a music selection for suitability, choice of music for particular client groups and ages, and guidelines for recorded music in the hospital environment. As in the first chapter, sections include examples, exercises, and clinical vignettes. For example, the section on other considerations includes possible associations that clients may have with a particular musical selection, music preferences, the length of the music selection, and whether vocal or instrumental music should be used. …