606
Views
1
CrossRef citations to date
0
Altmetric
Original Research Articles

Discovering the flute’s voice: on the relation of flutist music therapists to their primary instrument

&
Pages 381-398 | Received 10 Nov 2016, Accepted 08 Mar 2018, Published online: 07 Jun 2018

References

  • Amir, D. (1999). Meeting the sounds. Music therapy. Ramat-Gan: Bar Ilan University. (In Hebrew)
  • Anderson, C., Austin, V., Corke, E., Fearn, M. C., Mitchell, E., & Tomlinson, J. (2015). The flute. In A. Oldfield, J. Tomlinson, & D. Loombe (Eds.), Flute, accordion or clarinet? Using the characteristics of our instruments in music therapy (pp. 69-94). Philadelphia, PA: Jessica Kingsley.
  • Annesley, L., Crociani, S., & Davidson, B. (2015). The saxophone. In A. Oldfield, J. Tomlinson, & D. Loombe (Eds.), Flute, accordion or clarinet? Using the characteristics of our instruments in music therapy (pp. 265-286). Philadelphia, PA: Jessica Kingsley.
  • Austin, D. (2001). In search of the self: The use of vocal holding techniques with adults traumatized as children. Music Therapy Perspectives, 19(1), 22–30.
  • Austin, D. (2008). The theory and practice of vocal psychotherapy: Songs of the self. London: Jessica Kingsley Publishers.
  • BastaniNezhad, A. (2012). Root tone: A holistic approach to tone pedagogy of western classical flute. Australian Journal of Music Education, 2, 33–44.
  • Bell, C. R., & Cresswell, A. (1984). Personality differences among musical instrumentalists. Psychology of Music, 12(2), 83–93.
  • Berends, A. (2014). What do orchestral instruments bring to music therapy? Developing my voice on the oboe and English horn as a music therapist. Canadian Journal of Music Therapy, 20(2), 13–31.
  • Creech, A., & Hallam, H. (2011). Learning a musical instrument: The influence of interpersonal interaction on outcomes for school-aged pupils. Psychology of Music, 39(1), 102–122.
  • Davidson, J. W., Moore, D. G., Sloboda, J. A., & Howe, M. J. A. (1998). Characteristics of music teachers and progress of young instrumentalists. Journal of Research in Music Education, 46(1), 141–160.
  • Dvorkin, J. M. (1991). Individual music therapy for an adolescent with borderline personality disorder: An object relations approach. In K. Bruscia (ed.), Case studies in music therapy. Gilsum, NH: Barcelona Publishers.
  • Galway, J. (1982). Flute. New York: Schirmer Books.
  • Gonzales, P. J. (2011). The impact of music therapists’ music cultures on the development of their professional frameworks. Qualitative Inquiries in Music Therapy, 6, 1–33.
  • Lehtonen, K., & Juvonen, A. (2012). Castles made of sand – a psychodynamic interpretation of Jimi Hendrix’s life and music. Nordic Journal of Music Therapy, 21(2), 133–152.
  • Lincoln, Y. S., & Guba, E. G. (1985). Naturalistic inquiry. Beverly Hills: Sage.
  • Oldfield, A. (2006). Interactive music therapy: A positive approach – music therapy at a child development centre. London: Jessica Kingsley Publishers.
  • Oldfield, A., Tomlinson, J., & Loombe, D. (2015). Flute, accordion or clarinet? Using the characteristics of our instruments in music therapy. Philadelphia, PA: Jessica Kingsley.
  • Ostwald, P. F. (1992). Psychodynamics of musicians: The relationship of performers to their musical instruments. Medical Problems of Performing Artists, 7(4), 110–113.
  • Quantz, J. J. (1985). On playing the flute. London: Faber and Faber.
  • Robinson, C. (1999). The instrument as an expression of a musician’s internal world. Psychodynamic Counselling, 5(4), 443–452.
  • Salman, E. (2013). The relationship between music therapists and their main musical instrument. (Unpublished thesis). Bar Ilan University, Ramat Gan.
  • Schenstead, A. (2009). Performing musical liberation: The flute and the self in improvisation exploration and music therapy practice ( Master’s thesis. Wilfrid Laurier University, Waterloo, ON, Canada). Available from http://www.wlu.ca/soundeffects/researchlibrary/Amanda_MRP_2010.pdf
  • Schwandt, T. A. (1997). Qualitative inquiry. Thousand Oaks, CA: Sage.
  • Sinnamon, S., Moran, A., & O’Connell, M. (2012). Flow among musicians: Measuring peak experiences of student performers. Journal of Research in Music Education, 60(1), 6–25.
  • Smith, J. A., Flower, P., & Larkin, M. (2009). Interpretative phenomenological analysis: Theory, method and research. London: Sage.
  • Smith, J. A., & Osborn, M. (2003). Interpretive phenomenological analysis. In J. A. Smith (Ed.), Qualitative psychology: A practical guide to research methods. Thousand Oaks, CA: Sage.
  • Smith, J. A., & Osborn, M. (2015). Interpretative phenomenological analysis as a useful methodology for research on the lived experience of pain. British Journal of Pain, 9(1), 41–42.
  • Uhlig, S. (2006). Authentic voices, Authentic signing. Gilsum, NH: Barcelona Publishers.
  • Uhlig, S. (2009). Voice forum: The voice as primary instrument in music therapy. Report from a symposium at the XII World Congress of Music Therapy, Buenos Aires, Argentina, 22-26 July 2008. Voices: A World Forum for Music Therapy, 9(1).  Retrieved from https://voices.no/index.php/voices/article/view/365
  • University of Oxford. (2012, May 27). Earliest musical instruments in Europe 40,000 years ago [ScienceDaily]. Retrieved 30 November, 2015, from www.sciencedaily.com/releaces/2012/05/120527195720.htm.
  • Winnicott, D. W. (1971). Playing and reality. London: Tavistock Publications.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.