Voices ResourcesA website for the worldwide community around the journal Voices: A World Forum for Music Therapy

One of the privileges of academic life is the opportunity to take sabbatical leave—usually a period of six months that is set aside to complete a project that will enhance teaching and research. At the University of Melbourne sabbatical leave is difficult to obtainthe instructions indicate that sabbatical leave must be taken overseas and must involve the development of new knowledge and/or skill that can then be imparted to students back in Melbourne. It is interesting that knowledge and skill can apparently only be obtained by going overseas! In my application I explained that I was writing a book, and needed the convenience of my own office and my library of books and professional journals, and that to go overseas would require me packing up all these resources to take with me. The University offered an alternativeI could stay in Melbourne if I attached myself to an institution other than the University! A curious option, but one that I took. Fortunately this option became an essential part of writing the book, as will be explained later in this column.

In writing the book I have been aware of the different experiences of writing for music therapy, whether it be a Voices column, a refereed Journal article, a chapter in a book, editing a book, or writing one's own book. I have intentionally chosen to use the phrase "writing for music therapy" because it suggests that the act of writing is for the profession—to further the profession by contributing knowledge about clinical work, or sharing experiences in the hope that others may relate to what is written, and in some cases to critically evaluate and review what others have written about in music therapy. Whatever form of writing is underway it is always important I believe to write with the reader in mind. Is the writing engaging to read, is it clear in meaning, can the reader follow the argument?

Writing, however, is not always an easy task. Some days there is a flow as the writing "muse" has her way, but often writing requires discipline and a good deal of reflection, revising, and editing. Whether writing a small piece or a chapter, developing a plan is the first step I take, and then with headings and sub-headings in place it's time to commit oneself to putting something in print.

The book that I am writing (with Prof. Tony Wigram) is entitled Receptive Methods in Music Therapy, and is the 3rd of a series of books all published by Jessica Kingsley related to music therapy methods. The first book, written by Prof. Tony Wigram, is about Improvisation. It is a book that explains Improvisation and includes exercises that students can do to become skilled in Improvisation.

The second book is edited by Dr Felicity Baker and Prof. Tony Wigram, and relates to the method of Songwriting in Music Therapy. Music therapists from diverse clinical practice contexts and different countries of the world have written about their method of writing songs for, or with clients. The book is also an explanatory one so that music therapists can develop skill in writing songs with clients of all ages.

The Receptive Methods in Music Therapy book follows suit. It begins by addressing the beliefs and values that music therapists bring to their clinical work, and how these influence the manner by which music therapists engage their clients in receptive music therapy. Verbal processing skills are explained and there are exercises that enable students to better understand how verbal processing interfaces with music experiences. Paul Nolan (2005) has recently commented that "there are volumes yet to be written about the use of verbal processing in music therapy" and "it seems to be an integral part of a great deal of music therapy" (p. 18). In the receptive methods book similar arguments are given for exploring verbal skills in processing music therapy experiences with clients.

Receptive music therapy methods included in the book are: relaxation inductions that music therapists can use with children of all ages and adult clients, and appropriate music to use to enhance the relaxation response. Other chapters cover the use of visualisations and imagery, recorded song discussion and lyric analysis, vibroacoustic therapy, music to accompany movement, collage and music, and a chapter on leading groups in music appreciation.

But to return to the conditions of my sabbatical leave: the two institutions that I approached to "attach" myself during my sabbatical were the Royal Childrens' Hospital (RCH) in Melbourne and the Calvary Health Care, Bethlehem (CHCB) Hospital also in Melbourne. I chose these two institutions because each has a team of music therapists—4 at RCH, and 7 at CHCB. Being "attached" to these institutions allowed me to confer with the music therapists on staff and to ask them to try out some of the "exercises" from the book. It was very exciting to read their comments and feedback about using the ideas explained in the book. I incorporated their comments, and so can offer a relevant and current overview of receptive methods. Their experiences complemented my own clinical practice that largely relates to adult clients with mental illness, and to aged care.

The responsibility for writing for this book has been a shared one—shared with the co-author, but also shared with music therapy colleagues working in diverse clinical practice settings, and ultimately shared with music therapists across the world. This then has made it a very enjoyable task and one that has enriched my understanding of music therapy and has developed new skills. As a result the book should therefore impart new information to the students at the University of Melbourne (and, I hope, other training courses throughout the world). Sabbatical leave has been an essential part of my academic life, and the development of new understandings and skill have taken place over these past 6 months while being "at home".

Baker, F and Wigram, T (2005). (Eds.) Songwriting. Methods, Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students. London. Jessica Kingsley Publishers.

Nolan, P. (2005). Verbal processing within the music therapy relationship. Music Therapy Perspcctives. Vol 23, Issue 1, 18-28.

Wigram, T. (2004). Improvisation. Methods, Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students. London. Jessica Kingsley Publishers.

How to cite this page

Grocke, Denise (2006). The Joys of Sabbatical Leave and Writing for Music Therapy. Voices Resources. Retrieved January 10, 2015, from http://testvoices.uib.no/community/?q=fortnightly-columns/2006-joys-sabbatical-leave-and-writing-music-therapy