Hadley, S. (Ed.). (2003). Psychodynamic music therapy: Case studies. Gilsum, NH: Barcelona. 424 pages. ISBN 1-891278-16-9. $42.00. One criticism of the profession of music (from within, as well as from outside, the field) is that music therapists do not articulate clearly enough their theoretical underpinnings. As a profession, we have in fact written much about what we do and less about why we do it. That criticism, however, cannot be leveled against the music therapists represented in Susan Hadley's (2003) new offering, Psychodynamic music therapy: Case studies. In this edited work, Hadley has compiled 21 engaging case studies written by music therapists from nine countries. All share a psychodynamic orientation toward their work, but differ in regard to the particular theories/theorists that inform and shape their work. Prior to the actual case studies, Hadley provides three sections that enhance the reading of the remainder of the book. The Contributors section gives a brief biography of each therapist/author represented. In the Preface, Dr. Hadley provides her personal and pedagogical reasons for creating this book, emphasizing her hope that it will inspire music therapists to pursue advanced training in music therapy. The Introduction provides a wealth of information. In this section Hadley gives a brief history of psychodynamic music and a succinct overview of several psychodynamic schools of thought, including Drive Psychology, Ego Psychology, Object Relations, Self Psychology, and Jungian Theory. She makes note of the particular case studies informed by each theory. I found this section particularly helpful to refer to during my reading of each case study, so as to review the core beliefs and terminology of that author's theoretical basis. This section also includes a summary of basic common assumptions of psychodynamic music therapy (p. 12) and an introduction to several psychodynamic constructs, such as defenses and transference. The entire Introduction is essential for the music therapist who has had little or no exposure to psychodynamic theories and/or psychodynamic music and to the pioneers who have paved the way for this type of work. The case studies are organized into three parts according to the chronological ages of the clients. All authors follow a similar format, presenting an abstract, an introduction (often used to delineate the author's theoretical influences or treatment approach), background information on the client, an explication of the treatment process, and finally a discussion of the case and the psychodynamic constructs present. The duration of music in the cases ranges from two sessions to over seven years. Music methods utilized include improvisation, songs, music listening, and music imagery. Part One contains nine case studies with children from 5 to 12 years of age. Eight of the case studies reflect individual music sessions; one is a group situation. The children in these cases have incredibly challenging problems including emotional and developmental disabilities, abusive and neglectful caregivers, selective mutism, and terminal illness. I was particularly moved by Sweeny's case study regarding her work with a terminally ill boy who, through the use of an instrument as a transitional object, seemed to come to terms with his impending death. I also appreciated the description of various phases in the process addressed by some authors (e.g., Robarts; Dvorkin and Erlund). Most of the cases in this section are influenced by some branch of object relations theory; one study is decidedly Jungian. Part Two contains three case studies with adolescents from 10 to 16 years of age. All three are examples of individual music therapy. The theories drawn upon in this section of the book include object relations and self psychology. The clients' histories include incest and other forms of sexual abuse, deprivation, attempted suicide, abandonment, and social difficulties. …