peutic remedy within psychiatric institutions appear in the popular British and American press and also in Australia and New Zealand from the 1850s until the 1940s, and what they actually represent regarding cultural beliefs concerning madness and music as medicine over time. I look at how the press understood and represented music as therapeutic to the community, and examine how historians of psychiatry have read these images in recent historiography. I also consider why there has been a resurgence of the use of these images most recently by professional groups in commissioned commemorative histories about the asylum. These Australian and New Zealand images need to be understood within their Western context, and I investigate how these images reflect medical, musical, moral, and cultural understandings of music as medicine. Nothing has been written on how long-standing cultural beliefs about music as medicinal underpin the representations of the asylum ball in the press. Images of music-making and madness reinforce popular community beliefs that music has the power not only to 'soothe the savage breast' but also to trigger aggression and violence. This belief, which appears in nineteenthand twentieth-century medical tracts about the ideal treatment and care of the mentally ill within institutions, has not been explored in Western historiographical debates. Furthermore, the recognition, development, and professionalisation of, what were initially combined but later separate, therapeutic treatments including occupational, art and music therapies during the twentieth century point to a real belief in the potential therapeutic benefit of music within
Read full abstract