Memories from 5th World Congress of Music Therapy, 1985, Genoa

Memories from Ruth Bright, Australia

It was a terribly busy year for me - I had been to New York for an International Gerontology Conference, given a paper on "difficult patients" with lots of solid research in it, learned that this was to be published as a chapter in a book, later I had been on a lecture tour in New Zealand, and then - after all these! gone to Genoa immediately after a working visit to UK (and, of course, all the earlier preparation for the Genoa visit).

It was very exciting to be going to Genoa, with the prospect (probably!) of setting up a world federation, and we had done a terrific lot of work in preparation (we = myself, Tony Wigram and Amelia Oldfield from UK) to get a formal proposal ready for presentation. On 12 December, my diary says: “This was accepted 'more or less', but with more 'less' than 'more.’” Unfortunately I cannot now recall exactly what these problems were, but I think it had to do with the fact that music therapy is so very different in standard around the world - i.e. what is demanded of the therapist in order to be a professional.

But, nevertheless, it was exciting to be all together, to get a proposal through, and to have prospects of the formal Constitution being accepted at the next world congress. (It was at that time assumed this would be in UK but it did not happen - I am not sure of the reasons - so that there was this long gap between Genoa in 1985 and Rio in 1990.)

I was given the task of writing the Constitution because I had written the constitution for AMTA [Australian Music Therapy Association] and for another different organisation (with legal advice, of course) so I was given the responsibility for evolving an acceptable internationally acceptable Constitution.

(I have written about that already in material that will appear re the Rio congress - e.g. the objections from a South American group because the Constitution gave each country a vote to be shared between organisations if there was more than one such - which aroused anger. But this was dealt with by my pointing out that to give each organisation a separate vote of equal value was to reward divisiveness!)

I can recall a terribly posh dinner party for the committee, in a sort of palace with a terribly grand, heavily decorated ceiling! I also recall (on a more professional note) that the presentation by Tony Wigram and Olav Skille about vibro-acoustic therapy was greeted with great interest, but (from some people) considerable skepticism. Some people saw it as Not Really Therapy.

[On a personal note re Genoa, MMB's Rep, Norman Goldberg, had brought along a page of different photographs for me to choose the cover for my first book on Grief - "Grieving - A Handbook for Those Who Care". I chose a scene with light just filtering through shadows of trees, to symbolise the idea of hope coming through despite darkness and the adverse pressures.]

So Genoa was to me a mixture of excitement and relief, with new responsibilities, but with some disappointment at some aspects of the beginning of the new association.

My diary says this: "But that was just me, not the Congress!”

Memories from Elżbieta Galińska, Poland

I am sending you some of my memories of the 1985 World Congress in Genoa. The abstracts are published in the Proceedings in the alphabetical order, not categorically or thematically. The abstract of my article is in Italian and English.

Summary of Elżbieta Galińska's presentation at the 1985 World Congress in Genoa (pdf)

In the article I present my own method of “musical portrait” of the patient (PM). The idea of PM appeared for the first time just in 1973, but I have been developing it for more than 30 years of my clinic practice. It was described by A. Janicki (1993) in Music Therapy: International Perspectives (Ed. by Cheryl Dileo Maranto.)

It is a method of group music therapy and it belongs to the approach of “music psychotherapy” (Maranto, 1993) that refers to solving psychological problems of the patient by means of activity and music. The method of musical portrait refers to the therapy of the disorder structure of self among non-psychotical patients (neurotic disorders, personality disorders, eating disorders). The method consists of the numerous constant and situational techniques including perception of music (the collage of three aspects Self – “Musical mirror of Self”) as well as work with the musical instruments. The musical idea of this method remains the same. However, the theoretical conceptualization is changing and developing.

During the Congress in Genoa in 1985 the term of “the real self” was discussed according to the C. Rogers approach. However, the idea was always to show “the explicit and implicit self” by the means of music and to inspire to create a new concept of Self. I defined it as the signpost for the future and I used for the first time the term l’indicatore stradale” or “potential self”. During the period of the Congress in Genoa I started to construct the cognitive approach of music therapy (see: E. Galińska. (1989). La musicotherapie cognitive: le portrait musical du patent. „La Revue de Musicotherapie” (Paris, published by Edith Lecourt).

I did not receive for the second time the allowance for the departure from Poland. The state of war that started in Poland on 13th December 1981 caused the increasing economical crisis. Meat, chocolate and petrol was limited and distributed by the government only by the special paper tickets. I remember that time quite well, because we had a car accident in 1984. My husband managed to buy petrol without paper tickets and he was so happy that he didn’t perceive when we were hit by the very big van.

I did not manage to go to Genoa, although I sent there my article. However, my colleague psychologist Jaonna Borak was on the Congress in Genoa. She was the secretary of the Working Group of Music therapy, with who I set it up in 1985 Scientific Section of Psychotherapy of the Polish Psychiatric Society.

Memories from Barbara Hesser, USA

I was one of 10 representatives who met in Genoa, Italy at the 5th World Congress of Music Therapy to discuss and if possible form a World Federation of Music Therapy. We had been appointed in 1983 in Paris at the 4th World Congress of Music Therapy. Also present were Amelia Oldfield, Dr. Rafael Rivera Colon, Heinrich-Otto Moll, Jaques Jost , Dr. Rolando Benenzon, Clementina Nastari, Ruth Bright. The organizer of the 5th World Congress in Genoa, Giovanni Mutti, was also invited to be a voting member of the committee. Unfortunately, one of our members from Eastern Europe, Dr. Tadeusz Natanson, was unable to attend the meeting.

We began working right after the 1983 Congress. In letters, members of the working committee exchanged ideas about what the role of a world organization could be and thoughts about what our agenda would be for the upcoming meeting. I am thinking how much more efficient and effective this would have been if there had been email!

I was asked at the Paris Congress to represent all three associations of music therapy from North America at the 1985 World Federation meeting. This was officially discussed with the organizations and my appointment ratified by them. Although I took my responsibility seriously, it wasn’t easy to represent the views of three diverse organizations which had greatly differing points of view at that time on many issues including the establishment of a World Federation. The three organizations were not all of the same mind as to the need for a formal Federation nor whether they would or could participate financially in this effort. The National Association for Music Therapy was the least supportive of such a formal organization, the Canadian Association was in favor of such an organization but had no funds at the time to support this effort. The AAMT, my own organization although quite small, was very enthusiastic about such an organization and offered their continuing publication and support of the International Newsletter of Music Therapy as part of this new organization.

There were closed working sessions throughout the conference. The whole process was an exciting experience of international exchange and collaboration. I made and deepened many wonderful international connections through this process. I remember that there was simultaneous French and English translation with earphones from the booth above us. However, the Spanish translators sat with us at the table and would translate to their members out loud after the simultaneous translation was complete. Because of this each point took quite a bit of time to discuss, but it was essential that all members understood clearly what was being said. Not that everything was easy, far from it. The meeting really pointed out our personal and cultural differences in styles of working and there was not always agreement about the goals of our working group. I thought often about the struggles and triumphs of the United Nations as we worked. I became aware of just how complicated international work was.

In the end, we all signed a provisional document to form a World Federation of Music Therapy. In it we were able to outline the aims and the structure for this organization. It was agreed that at the 6th World Congress of Music Therapy in Sao Paulo, Brazil that this document would be discussed, changed if necessary and ratified by a vote during a general meeting of official representatives from each international association.

Each member of our Committee took on the various responsibilities of the new organization. Through a unanimous vote the officers became:

• Dr. Rolando Benenzon, Chairperson
• Professor Jaques Jost, Deputy Chairperson and Treasurer
• Professor Giovanni Mutti, Secretary
• Professor Barbara Hesser, Publicity Officer
• Professor Amelia Oldfield, Professional Body Coordinator
• Professor Ruth Bright, Training Coordinator
• Dr. Heinrich Moll , Research Coordinator
• Dr. Rafael Colon , World Organization Coordinator
• Clementina Nastari, 6th World Conference Coordinator
• Committee Member:
  Professor Tadeusz Natanson

I was elected as Publicity Officer of the newly formed World Federation. This was no surprise since the American Association of Music Therapy (AAMT) had been editing and financially backing the publication of an International Newsletter of Music Therapy. I want to share how this came about. In June 1982, I coordinated an international symposium hosted by New York University where music therapists from around the world were invited to spend a week exchanging ideas pertaining to the symposium title “Music in the Life of Man,” a dialogue about what it is about music that makes it a powerful tool for therapy. On the last day of the symposium there was a discussion about the need for a World Federation of music therapy that would foster and continue these kinds of exchanges. It was decided that the first step would be to establish channels of communication, and the American Association of Music Therapy offered to subsidize and begin to publish such a yearly Newsletter. Dr. Ken Bruscia was asked to edit the first one. This newsletter was made available to all countries with associations of music therapy. As a service to the world community this Newsletter was subsequently published by AAMT for many years and then finally taken over by the WFMT.

It was a great honor to be part of the formation of the World Federation, an organization that has grown and developed over these many years. I believe that our international collaboration enriches and strengthens our profession.

Memories from Joseph Moreno

The 1985 World Congress in Genoa was a memorable one with wonderful spirit and dynamic energy and this was due in no small part to the great organizational efforts of Giovanna Mutti.

I particularly recall a session I conducted in group analytical music therapy improvisational work. The central person in the group experience was, by chance, a person I had worked with in a previous conference perhaps a year before. In that previous therapy group she had explored some personal issues and chose a xylophone and a drum to symbolize the disparity between her expected social roles (on the xylophone) and her inner conflicts regarding those role expectations(the drum). When I had worked with her the previous time those conflicts were very strong and traumatic. What was memorable was that in the World Congress group she chose exactly the same instruments as she had the previous year, but this time the music was far more subdued. The calm xylophone music dominated her expression and the previously sharp, repeated and percussive drumming statements had become only mildly intrusive. As she subsequently explained, during the intervening year the problems she had experienced in the past had been largely although not completely resolved. And, her music had changed in a direct parallel to the changes in her life.

I also recall that during that conference I developed a close and lasting friendship with the late Edith Boxill. I later became deeply involved in her work in Music Therapists for Peace which at that time was in its early stages of development.

I remember encounters with many colleagues including Olav Skille, Darko Breitenfeld, Tony Wigram, Rolando Benenzon, Even Ruud, Amelia Oldfield and others. Some memorable moments included a nocturnal visit to the collection of Paganini`s personal violins, and a spontaneous silverware on wine glasses group improvisation in the conference banquet!

Recollections from Amelia Oldfield, UK

The Genoa Conference came at the end of what had been a very busy and exciting year for me. I had been to an International music therapy conference in Heidelberg, Germany, in May, and then I had taught music therapy students for two weeks at the Jyväskylä University in Finland. Although, of course, I had enjoyed and been thrilled by these opportunities, but it was also very difficult combining this travelling with the clinical commitments of a full time music therapy post. By the time I arrived in Genoa, I was aware of the fact that I might have to think carefully about future engagements that took me away from my day to day music therapy commitments. As it happened, after Genoa, I didn't attend another International music therapy conference for eight years.....but this was mainly because I had four children during that time.....

I was invited to Genoa because I was a member of the World Federation of Music Therapy Working Party which had been created in Paris in 1983. In this capacity I was put up in great luxury at a beautiful old hotel in the city and given vouchers to eat in a fantastic gourmet restaurant every night. The food was truly wonderful... so good in fact that a number of us got into trouble with our hosts because we spent the entire evenings eating rather than attending concerts or other official functions.

Jacques Jost and Jacquelines Verdeau Pailles (France).

Giovanna Mutti (Italy - organiser and president of the conference).

Ruth Bright in foreground, others unknown.

From left to right: Otto Moll (Germany), Auriel Warwick, Tony Wigram and Barbara Hesser (USA)

Before the conference I had worked together with Tony Wigram to put together a proposal document defining the function, purpose and role of a possible World Federation of Music Therapy. We had various meetings with other members of the World Federation working party including .....I think.... I'm not exactly sure of who was there....it was 25 years ago...... Otto Moll (Germany), Rolando Benezon (Argentina), Barbara Hesser (USA), Giovanna Mutti (Italy), Ruth Bright (Australia) and Jacqueline Verdeau Paillés (France). I remember simultaneous translation from Italian to English through headphones and then attempting to translate to German for Otto Moll and to French for Jacqueline Verdeau Pailles, and getting extremely confused. I also remember being very surprised that the hardly amended document that Tony and I had put together was officially signed by us all, marking the creation of the World Federation of Music Therapy. This was all done in front of live Italian television cameras and presumably broadcast to the Nation as a significant event.

The conference bags were very smart, sturdy grey shoulder bags covered with snake logos. I used this bag extensively for at least 15 years after the conference before it finally fell apart. Overall, I remember the Genoa Conference as a very stylish 'old school' event....and I don't think I've ever eaten such good Italian food before or since....

Memories from Olav Skille

I remember I was living far up North – about 1000 km North of the Polar Circle, and coming to Genova in clothes that did not permit me to glide unnoticed in among the flock of famous people.

I came with a prototype of the “Music Bath” – Low frequency sound massage – and 12 C60 cassettes with 3 years of work, combining music with low frequencies.

I had found that body-perceived sound frequencies (especially bass) had positive effects on pains, spasticity, lung problems and general well being.

I demonstrated the effect for many interested therapists, among them was Joe Moreno, Petri Lehikoinen and Tony Wigram. The professional and personal contacts is still alive,- but Petri is not, unfortunately.

The equipment I brought was very expensive, and I asked if it was secure to leave it in the congress area until the next day. So it was,, except for the therapeutic element. My cassettes had been stolen, and I had no back ups! 3 years of work down the drain!

I had to make sound files from scratch, and decided that the music/frequency mixture was too unpredictable. With Tony and Petri we started to perfectionize the sound programs for Vibroacoustic Therapy (VAT) that eventually became the name of the method.

The effect of the contacts from the congress resulted in several PhDs made by therapists who were attached to teaching institutions or hospital clinics. VAT clinics now exist in Norway, Sweden, Finland, Denmark, England, South Africa, USA, India, Croatia, Slovenia, Germany, Israel, Iran, Singapore and Malaysia.

Many books and reports related to VAT have appeared:

Survey over authors referring to Olav Skille's work in books and articles

Author	Title	Publication	Year
Framnes, Målfrid	Musikk-terapi - ei litteraturoversikt	Særoppgåve ved Statens bibliotekskole	1969
Reisberger, Karin	Versuch einer Überschau musiktherapeutischer Bemühungen innerhalb des europäischen Raumes	Diplomarbeit - Akademie für Musik und darstellende Kunst, Wien	1970
Sikström-Benarrosch, Maria	Musikalitetsfunktioner och deras samband med bl.a. intelligens och social mognad	Pro-gradu arbete vid Åbo Akademis psykologiska institution	1976
Lananmäki & Niskanen	SMUFT	Pro-gradu-tutkielma. Etityispedagogiikan laitos. Jyväskylän Yliopisto	1977
Moog, Helmut	Transfereffekte des Musizierens auf sprachliche Leistungen, Lesen und Rechtschreiben, aufgewiesen bei Sprach- und Lernbehinderten	Musik & Bildung 6/1978	1978
Rett Andreas & Wesecky, Albertine	Arbeiten zur Theorie und Praxis der Rehabilitation in Medizin, Psychologie und Sonderpädagogik, Band 26.	Musiktherapie für Behinderte	1981
Kral, Novotny & Teiner	Vergleich des musikalischen Verhaltens von Kindern in Volksschul- und Sonderschulbereich mit dem Musikalischen Behaviour Scale nach Olav Skille	Projekt zur pädagogischen Tatsachenforschung. Pädagogische Akademie des Bundes in Wien	1983
Tambartun skole	Konferanse om psykisk utviklingshemmede med synsvansker 18. – 20. mai 1983	Tambartun utdanningssenter for synshemmede	1983
Svarva, Kyrre	Utprøving av Vibro-Akustisk Stimulering ved Trøndelag Psykiatriske Sykehus, avd, Østmarka, post 2.	Forskningsrapport	1987
Derås, Ove	Diskusjon vedrørende bruk av Vibroakustisk behandlingsutstyr innen fysisk aktivitet på forholdsvis høyt nivå	Manuskript	1988
Lehikoinen, Petri	Vibro-acoustic Research in Finland	Musik, Kunst und Tanztherapie, Heft 4/88	1988
Lehikoinen, Petri	Âäniaaltojen rentouttava vaikutus	Musiikiterapia 1-2 1988	1988
Pigany, Eric	Du chant des sirènes à la musicothérapie	Psychologies	1988
Spintge, Ralph	Musikmedizin - Grundlagen und klinische Applikationen	Musik, Kunst und Tanztherapie, Heft 2/3-88	1988
Alperson, Philip	Harmony and Health. Philosophical Perspectives on the Relationship between Music and Medicine	Musik, Kunst und Tanztherapie, Heft 1(89	1989
Madsen, Standley, Gregory	The Effect of a Vibrotactile Device, Somatron, on Physiological and Psychological Responses : Musicians versus Nonmusicians	Journal of Music Therapy XXVIII (1) 1991, pp 14 - 22	1991
Stige, Brynjulf	Musiske born; ein tekst om improvisatorisk musikkterapi	Høgskuleutdanninga på Sandane	1991
Wigram, Tony	The Feeling of Sound. The Effect of Music and Low Frequency Sound in Reducing Anxiety and Challenging Behaviour in Clients with Learning Difficulties	Handbook of Inquiry in the Arts Therapies, Chapter 13.	1992
Maranto, Cheryl Dileo	Music Therapy in the United States of America	Maranto (ed.): Music Therapy: International Perspectives	1993
Michel, Donald & Chesky, Kris S.	Music Therapy in Medical Settings: The Challenge for more Rigorous Research - Especially in Music and Vibration Areas	Paper read at VII World Congress of Music Therapy	1993
Porter, Alison Patricia	Vibroacoustic Therapy - the Therapeutic Application of Low Frequency Sound to Reduce Stress Discomfort and Elicit the Relaxation Response	University of Ulster	1993
Ruud, Even	Music Therapy in Norway	Maranto (ed.): Music Therapy: International Perspectives	1993
Ruud, Even	Musikkterapi i Norge	Nordisk tidsskrift for musikkterapi 2 (2) 1993	1993
Wigram, Rogers & Odell-Miller	Music Therapy in the United Kingdom	Maranto (ed.): Music Therapy: International Perspectives	1993
Schubert, Tobias	Wirkungen akustisch-vibratorischer Stimulation auf ausgewählte Bereiche des Lern- und Leistungsverhaltens lese-rechschreibschwacher Schüler	Staatsprüfung für das Lehramt an Sonderschulen, Kiel	1994
Kvam, Marit Hoem	Hjelper Vibroakustisk behandling?	Berg Gårds skriftserie nr 1/95	1995
Moreno, Joseph M.	International Perspectives	Music Therapy Perspectives	1995
Sikström, Maria	The Skille Musical Function Test as a Tool in the Assessment of Psychological Function and individual Potential	The Art & Science of Music Therapy: A Handbook	1995
Wigram, Tony	The effect of Music, Vocalisation and Vibration on Brain and Muscle Tissue: Studies in Vibroacoustic Therapy	The Art & Science of Music Therapy: A Handbook	1995
Kvam, Marit Hoem	En studie av ”Musikkstolens” behandlingseffekt på personer med Cerebral Parese og lignende tilstander	Berg Gårds skriftserie 1/95	1995
Skille, Finn Harald	Amplitudemodulator til bruk i vibroakustisk terapi (VAT)	Hovedoppgave RT22, Høgskolen i Sør-Trøndelag, Avdeling for ingeniør- og næringsmiddelfag. Institutt for elektronikk. 7005 Trondheim	1995
Wigram, Anthony Lewis	The effect of vibroacoustic therapy on clinical and non-clinical populations	PhD Thesis, St Georges Hospital Medical School, London University	1996
Berger, Lutz	Musik, Magie & Medizin	Junfermann Verlag, Paderborn	1997
Wigram, Tony and Dileo, Cheryl	Music Vibration	Jeffrey Books, 538 Covered Bridge Rd. Cherry Hill, NJ 08037	1997

Memories from Gabriela Wagner, Argentina

Looking over the abstracts and the book of records published in Italian, in December 1985, this conference was an opportunity for several of the well-known music therapy leaders at present, to share and discuss experience and ideas. Plenary sessions were prevailing. The predominant languages for presentations were Italian, English and French. Several reasons put Genova as a midway to gather music therapist from very different places. Italy, France, Argentina, USA, Yugoslavia, Australia, Germany both East a West, Brazil, Poland, South Africa, Austria, Hungary, Finland, Denmark, India, Spain, Soviet Union, Norway, Israel, Canada, Netherlands, UK, Switzerland, Japan, Puerto Rico, China and Taiwan were some of the countries represented at this conference.

Concerning the dynamics of the presentations, plenaries and round tables were the predominant options. Next December, most of the presentations were published in Italian in the book of records of this World Congress. In my opinion, this last one, edited by Giovanna Mutti, is a real evidence of the variety of ideas and experiences developed in the ‘80s. The different papers were grouped into "lineamenti" or approaches to music therapy in the following way: Interdisciplinary, Educational Psychology, Rehabilitative, Psychiatry and the last chapter was Music Therapy in the World, Schools and Professional Training.

In spite of the different points of view and theoretical approaches, there were some relevant agreements such as the importance of music therapy for music therapy students and professionals, the need of supervision, the need to examine personal issues involved in being a therapist, and caring about our own inner life. For instance it was exciting to discover that what Benenzon and I called "didactic music therapy", was mentioned by Barbara Hesser as intertherapy. Of course this was possible because we listened carefully looking for coincidences in theoretical and practical issues. It is important to remember the great variety of music therapy programs in this period. At that moment the WFMT's role was not determined on this topic. The great cultural and legal differences made impossible any intention of ethical guideline reference about who should be considered a professional music therapist.

The interest in evidence based music therapy procedures was strongly developing. Assessment, valuation, evaluation and re-evaluation were dear expressions to some colleagues and deeply rejected by others. Quantitative and qualitative research methods were recently used in music therapy. The ideological difference concerning to the nature of man and knowledge were topics of the informal conversations sharing coffee somewhere around the conference hall.

European music therapy made several important contributions and as a whole they were very concerned about their interesting process of organizing European supranational liaisons and network. Later, in 1989, the first European Music Therapy Conference was organized in the UK.

With reference to the early history of the World Federation of Music Therapy, it was finally officially announced. President: Rolando Benenzon (Argentina), Vice-president: Jacques Jost (France), Secretary Giovanna Mutti. Brasil was elected as host for the next conference, and the representative of this country Clementina Nastari from Sao Paulo and later Cecilia Conde from Rio de Janeiro took over the responsibility of organizing the VI World Congress of Music Therapy.

[Insert Gabriela Wagner pictures Escanear 0013-0018 and memory/captions, all of which are quite long]

Photo 1: It was taken during a wonderful dinner at an Italian Villa. The man with the beard is Rolando Benenzon, the one with eyeglasses is Dr. Aldo Vizcaíno, my (Gabriela’s) husband, in front of us the two ladies are,Clementina Nastari from Brasil and Giovanna Mutti from Italy, Congress Chair. At this evening we had a couple of wonderful singers, but the one I will never forget was Jacqueline Verdeau Paillés and her/chanson français. Giovanna Mutti is a well-known opera singer, but as far as I remember she didn't sing that night. It was during the next World Congress in Rio de Janeiro where I had the great pleasure to sing with her "Libiamo nè lieti calici", from Traviata. It was an incredible experience because she is a great artist.

Photo 2: Edith Boxill and me. I had a presentation. Edith presented on "Music therapy for the development of the mentally disabled: a continuum of awareness" and I did on "Music Therapy and aphasia". We found a lot of coincidences in assessment and evaluation of musical skills and music therapy procedures. From then on we kept in touch and some years later she came to lecture to Argentina.

Photo 3: Unfortunately I can't remember all the names, but near the back you can see Joe Moreno (next to Barbara Hesser). Joe and his Musical Psycho-drama was already well known. He supported the idea of a World Federation from the very beginning.

Photo 4: Jacques Jost and Jacqueline Verdeau Paillés (France) in front of Amelia Oldfield (UK). On the back you can see Norman Goldberg from MMB Music Inc., Publishers. The white haired man with glasses is Otto Moll from Germany, he presented on Active music therapy.

Photo 5: This table is really an international one: Padma Murthy from India, (Researches and experiences of Music Therapy in India), Gabriela Wagner from Argentina (I was reading the paper we prepared with Rolando Benenzon on Music Therapy and Didactics), Grethe Lund from Denmark (Individual Music Therapy), Barbara Hesser from the USA, American Association of Music Therapy (Advanced Clinical Training in Music Therapy). After this presentation Barbara Hesser and I had a super interesting talk on intertherapy and didactic music therapy. We found that in spite of the different words, we were talking about the same experience group music therapy as a proposal of professional training, personal development and supervision.

Photo 6: The first person on the left is Ruth Bright (Australia), the one beside me is Alejandro Barón Guiñazú, he was one of my students at the Universidad del Salvador, in 1985 he was teaching in Germany. He was an interesting and talented young music therapist who died some years later.