Which musicians can be called music therapists

Anne-Katrin Jordan, Eric Pfeifer et al. (Ed.): Music therapy in educational settings

Anne-Katrin Jordan, Eric Pfeifer, Thomas Stegemann, Sandra Lutz Hochreutener (eds.): Music therapy in educational settings. Impulses from practice, theory and research. Waxmann Verlag (Münster, New York) 2018. 222 pages. ISBN 978-3-8309-3722-7. 29.90 EUR.
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Integrating music therapy into educational settings is not new, but due to developments in health, society and education, it is a highly topical issue. So it's time to take a closer look at the current state of practice, theory and research. This book offers an interdisciplinary and international insight into topics related to music therapy in schools, music schools and kindergartens. In the first part, the possibilities, chances, challenges and limits of music therapy in (music) educational settings are discussed. Current health surveys and educational studies are included as well as legal texts.

The second part of the book provides practical examples from German-speaking countries, as well as from Norway and Great Britain. Various music therapy approaches are presented and illustrated using case vignettes. The third part introduces an overview of the current state of research, in which current music therapy research projects and programs are presented.


  1. Jordan, Anne-Katrin
  2. Piper, Eric
  3. Stegemann, Thoma
  4. Lutz Hochreutner, Sandra


  • Derrington, Dr. Philippa: Director of the Masters Degree in Music Therapy at Queen Margaret University in Edinburgh, Scotland. Music therapist.
  • Heye, Andreas: M.Sc/Dipl.-Musiktherapeut, research assistant at the Institute for Gifted Research in Music (IBFM) at the University of Paderborn and practicing music therapist. Main focus of work: musical (high) talent and its development in adolescence, use of music in the field of tension between therapy and pedagogy.
  • Holzwarth, Karin: Professorship for music therapy with a focus on body and movement in music therapy at the Hamburg University of Music and Theater; Graduate music therapist, naturopath for psychotherapy (HPG), graduate music pedagogue (music and movement education), author and freelance musician; Department coordinator music therapy at the State Youth Music School Hamburg.
  • Jordan, Dr. Anne-Katrin: Research assistant at the Institute for Musicology and Music Education at the University of Bremen; Music therapist in a child and adolescent psychiatric practice, deputy chairwoman of the Bremen Institute for Music Therapy and Mental Health; Music therapist, musicologist and educationalist (M.A.).
  • Lutz Hochreutner, Dr. sc.mus. Sandra: Music therapist SFMT, federally recognized psychotherapist ASP / VOPT, head of the clinical music therapy and music psychotherapy courses at the Zurich University of the Arts ZHdK; Private practice for music and psychotherapy as well as supervision.
  • Mäder, Yvonne: Swiss Federal Psychotherapist ASP, MAS Clinical Music Therapist SFMT, Psychotherapeutic Psychologist, DAS Music Psychotherapist, DaZ Teacher, Focus: Muscotherapeutic work in child and adolescent psychiatry.
  • Nebelung, Ingeborg: PhD student at the Norwegian Academy of Music. Music therapist, preschool teacher, owner of Vestfold Musikkterapi - a private practice that provides music therapy to day nurseries, kindergartens, schools, hospitals and other clinics.
  • Pfeifer, Dr. Eric: Professorship for Aesthetics and Communication - focus on music as a medium at the Catholic University of Freiburg, music therapist, music pedagogue, qualified pedagogue, teacher, musician, systemic family therapist, existential analyst and logotherapist; Private practice for psychotherapy, music therapy and counseling.
  • Prechtl, Anna Lisa: Music therapist at the Frankenalb Clinic Engelthal, clinic for psychiatry, psychotherapy and psychosomatics, music therapist (M.A.), teacher for music and ethics.
  • Roisch, Henrike: Dipl. Sociologist; Music therapist (DMtG), drum power trainer, music therapy group practice, teaching music therapy at the specialist academy for curative education.
  • Stegemann, Dr. med. Dr. sc.mus.Thomas: Music therapist, specialist in child and adolescent psychiatry and psychotherapy, couple and family therapist, head of the Institute for Music Therapy, overall coordination of the Vienna Center for Music Therapy Research (WZMF) and deputy head of the Dean's Office for Academic Studies at the University of Music and Performing Arts Vienna.
  • Vogel, Claudia: Like.; M.A .; Music therapist in private practice and active member of the association in the intergenerational housing project with social agriculture "LebensGut Mit einer", music teacher for classical guitar and elementary music making, musician, qualified social worker.
  • Wölfl, Dr. Andreas: Graduate music therapist (FH), clinical music therapist (MAS), educational music therapist (DMTG), child and adolescent psychotherapist, supervisor. Since 19889 music therapist in child and adolescent psychiatry. Since 1999 supervision, coaching and teaching music therapy in private practice; Training activity and publications. Head of the music therapy training BWM and the prevention working group at the Institute for Music Therapy of the Freie Musikzentrum e.V. Munich.
  • Zaindl, Wolfgang: Music therapist M.A .; High school teacher (music, school psychology); Seminar teacher for educational psychology.

Origin background

The book was created after a symposium in May 2017 in Bremen on current developments in the field of music therapy in educational settings. The contributions have been compiled on the basis of individual presentations. The aim of the symposium was, among other things, to promote the "exchange between practice and research in order to avoid the often existing> gap< zwischen="" diesen="" bereichen="" musiktherapeutischer="" arbeit="" zu="" verkleinern“="">

Structure, foreword and introduction

First of all, “facts, challenges and opportunities of music therapy in educational settings” will be discussed from different perspectives in three contributions. In the second part of the anthology, two examples from German practice are presented. Afterwards, international contributions (Austria, Norway, England) will name experiences from these cultures on the topic.

This general overview is followed by overviews of studies and research approaches in music education and therapy.

This is followed by contributions to other educational institutions, such as kindergarten (children with a migration background) or youth club (Berlin).

The last contribution focuses on teachers and the option of using music therapy interventions to influence improved working conditions.

Finally, the editors present their thoughts and an outlook on further research activities in their résumé.

The complete table of contents can be viewed via the link to the German National Library given in the bibliographic information.

Rosemarie TüpkerPreface. Know in the foreword Rosemarie Tüpker pointed out that “when students suffer, then school suffers too” can be used for years as a formula that emphasizes the relevance of the topic. She states that pupils with psychological and social problems are limited in their learning and performance capabilities and that the school's lack of responses to this phenomenon will eventually become a problem for the school itself. One topic that is brought up to music schools in this context is that, due to longer school hours, there are more pupils in school and there (should) offer more and more education in the musical field. Here are options for music therapists.

Anne-Katrin Jordan, Sandra Lutz Hochreutner, Eric Pfeifer and Thomas Stegemann:Introduction. The editors state that this book was created on the basis of a symposium in May 2017 at the University of Bremen. One of the main concerns of the exchange between the participants and speakers was to promote the exchange between practice and research.

Selected content

Sandra Lutz Hochreutner: Music therapy in a school context; Facts-challenges-opportunities

The author points out that with the subject

Focusing on school, she emphasizes that “adolescents spend a significant part of their everyday life in school” (p. 17). From this incident concludes Sandra Lutz Hochreutenerthat music therapists have to respond to this condition in order to meet the clientele as well as the associated network (family, medicine, psychologists, teachers). "In mainstream schools, music therapy is used as a supplement or alternative to psychotherapy and to promote development with specific objectives: for example, strengthening self-perception and self-confidence, supporting and expanding expression and communication behavior, promoting resilience in children with a migration background or promoting relaxation and regulating emotions in connection with school anxiety ... Work is carried out in individual or small group settings as well as in half or full class groups. Prevention projects such as> drum-power-violence prevention with music can also come into play here<>Wölfl, 2014), as well as songwriting and band workshops for young people (McFerran, 2010) "(p. 19)

The following section goes Sandra Lutz Hochreutener on legal possibilities of the UN Disability Convention, which allow music therapy to be included.

Andreas Heye: Possibilities and limits of music therapy in (music) educational institutions

With the perspective of the music psychologist and that of the music therapist, three aspects are examined. “Firstly, he emphasizes that the positive educational political mood regarding the demand, establishment and expansion of music therapy offers should be used ... Second, he sees the targeted, evidence-based use of music as a basic requirement for music therapy offers in (music) educational institutions. Third, Heye emphasizes the importance of being aware of one's own role ”(p. 12) as a music therapist.

Andreas Heye uses the following guiding principles:

  • (To) use the positive educational political mood for the demand, establishment and expansion of music therapy offers in (music) educational institutions!
  • The targeted and evidence-based use of music as a basic requirement for music therapy programs in (music) educational institutions!
  • Clarity about your own role and profession as either a music therapist or music teacher!

Andreas Heye first accesses legal regulations that "(show) new design options in order to (enable) everyone access to education ...

In addition, state stone and Müller (2015) that around 15 to 20 percent of all children and adolescents have serious psychological problems ”(p. 32) and that musical offers are particularly suitable for this.

Critically rated Andreas Heye the location of the evidence of effectiveness (for which disorders is music therapy suitable?) in music therapy. “On the other hand, music therapy work is and will remain characterized by intuitive, empathic action that largely eludes objective measurement methods” (p. 35).

Andreas Heye refers to the importance of music therapy in educational institutions due to the "increase in national and international publications on this topic" (S39).

With a separate chapter highlights Andreas Heye the “clarity about one's own role and profession as either a music therapist or a music teacher” (p. 40).

Demarcation criteria such as training content are named. An essential criterion seems to be that “educational institutions can provide counseling, but cannot guarantee an adequate setting for psychotherapy” (p. 41). On Mosquito (2009), who advises against working with music therapy in music lessons, should be mentioned: “Teachers at special schools cannot do music therapy work! It is also not their task ... Especially when it comes to treating the human psyche, sensitive and highly qualified specialists are required who can perform this task responsibly and competently ”(ibid. P. 41)

This underlines the need to prepare aspiring music professionals for their future roles.

Thomas Stegemann: Mental health of children and adolescents. Why music therapy is important in schools!

Also describes in an interdisciplinary manner Bridge man, but with the perspective of the child and adolescent psychiatrist and that of the music therapist. For him, music therapy in schools has become indispensable. The stress factors and risk factors for undesirable abnormalities are now too massive.

Karin Holzwarth: "You can do anything there as if it were a playground". Music therapy in the music school using the example of the State Youth Music School Hamburg

The second part of the anthology leads Karin Holzwarth using the example of the HH music school, such as music therapy in the music school organized can be. She presents two methods. (Depth psychologically oriented psychotherapy process; music therapy development promotion.) In addition, Karin Holzwarth suggests the establishment of music therapy in schools on the basis of two case vignettes.

Chapter 2 “Music Therapy Department at the State Youth Music School Hamburg” (JMS) provides an overview of the effects of music therapy at this educational institution. The personnel requirements are named. (8 music therapists are active. 6 female, 2 male. All of them are also musicians or music educators and also have the permit for therapeutic psychotherapy "HPG"). The format in which music therapy is offered extends to music therapy as a subject in the classic afternoon area and, on the other hand, in cooperation with other (educational) institutions.

In the music school itself, as in other institutions, music therapy is offered and carried out “as standard”. Ie: once a week for 30, 45 or 60 minutes, first contact, anamnesis, explanation of the therapy goals etc. The indications are broad and deal with "conflicts and unresolved problems in connection with physical, mental or sensory impairment, but also other issues such as Learning or perception disorders such as ADHD or autism spectrum disorders, family difficulties such as separation or illness of the parents, emotional or social behavioral problems, developmental delays, psychosomatic complaints, for example due to school pressure, post-traumatic stress disorders or fears ”(p. 65).

The JMS cooperates with seven mainstream schools, a kindergarten and an initial reception camp for refugees with special protection status. The therapies take place on site.

Two music therapy approaches are presented. Music therapy as a psychotherapy method oriented towards depth psychology (p. 66, 67) and music therapy to promote development (p. 67, 68).

In the process of music therapy as psychotherapy oriented towards depth psychology, the therapist tries as a fellow player and listener to "understand what is played and then convey what has been understood to the child in conversation or in a symbolic form (music, suggested game)" (p. 67) . The music therapy development promotion is to be located in the "interface between therapy and pedagogy. The therapy tries to achieve specific developmental goals, for example impulse control, better communication skills or a positive self-esteem “... This music therapy approach is predominantly exercise or experience-centered. (P. 67).

According to the description of the JMS requirements Karin Holzwarth two case vignettes (a long-term support in individual therapy and a group offer in cooperation with an initial reception camp for refugees).

As described in the reflection (p. 71), “this treatment is essentially about deciphering the world, about the desire to belong to the language community and the social community as an independent identity.”

In the music therapy program for a group with young refugees, a total of 19 sessions were implemented between February and July 2016. There is a certain fluctuation. A total of 74 children and young people were involved in the project. Initially, the goals indicated are trust building, elementary relationship building and the support of artistic-emotional expression as a meaningful element for people.In the case vignette, the oldest group was selected from the three available groups (put together according to age).

The music therapy encounters with the young people led to the strengthening of their “cultural identity and integrity by respectfully approaching their songs and their meanings. At the same time, we gave them an insight into the local culture and explored new, unusual forms of encounter and emotional forms of expression with them through free improvisation and our little conversations ”(p. 74).

Henrike Roisch & Andreas Wölfl:Drum Power - a music therapy violence prevention project. A project model of the Freie Musikzentrum e.V. Munich for work in schools and in support with unaccompanied minor refugees.

In the article, the origin and development of the project "Drum Power - Against Violence" (since 1990) is presented. “Drum Power is carried out by music therapy trainers with entire classes in close cooperation with the teachers in schools. It takes place either as an intensive week or once a week over half a school year or a whole school year ... The project ends with a performance and a concluding discussion with all participants ”(p. 79). In the meantime (i.e. since 2014), drum power has also been carried out with unaccompanied minor refugees (umF).

Claudia Vogel: Music therapy in Austrian schools, special schools and music schools. Results of a survey.

A first study on the situation of music therapy in Austrian schools was carried out in 1999, which found a clear focus on students in special education schools. In the meantime, directors, teachers, parents' initiatives and music therapists themselves are promoting a broader range of music therapy programs in schools. Families from educationally disadvantaged backgrounds obviously have fewer opportunities to take advantage of therapeutic interventions, so that for their children it is often the only chance for their children to experience a corresponding offer. Music therapy in particular, with its medium of music (), offers children and adolescents an attractive and at the same time non-verbal entry point and facilitates the low-threshold approach. School attendance, which lasts for years, also offers the possibility of medium to long-term music therapy accompaniment ”(p. 108).

Philppa Derrington: Music Therapy in Schools in the UK - Focus on Inclusion.

First lifts Philppa Derrington the pioneering work of Juliett Alvin (1975), Paul Nordoff & Clive Robbins (1971), Leslie Bunt (1994) who practically and scientifically designed and documented the history of music therapy with disabled children.

The development of music therapy in educational institutions has been established in Great Britain (GB) since the 1990s. This results from the fact that pupils with disorders in social behavior, children who have been schooled through inclusion in mainstream schools and / or pupils with integration problems bring with them educational topics that are beyond the basic mandate of the teachers. “This means that, since then, pupils with considerable difficulties have been taking part in regular schools, but are not given access to expert help, as is usually the case in special schools. This also applies in particular to music therapy support. There is a higher percentage of music therapy facilities in special schools, whereas in mainstream schools the music therapy provision for children with special needs has not been sufficiently increased to meet the needs of these young people ”(p. 117.)

Reported in the following chapter Philppa Derringtonthat in 2003 she received what was probably the first music therapy position at a state secondary school. There are now many positions for music therapists. The development of their work at the secondary school is described. In order to establish music therapy, she tried to get assignments for all students. So she directed her offer not only to pupils with disabilities but also to pupils with, for example, emotional disorders (after divorce of their parents, a bereavement, or generally conspicuous behavior).

The acceptance of her work is reflected in the fact that her position was increased from an employment of two hours / week to a permanent full-time position within two years.

She initially practiced music therapy in a garage set up for music therapy. This somewhat secluded garage had the advantage that no one was disturbed by the volume of the music and that the students went to this room willingly.

In the 3rd chapter there Philppa Derrington a research review on music therapy. As a result, it turns out that students who perform poorly or who are at risk of exclusion often have emotional difficulties and are significantly reduced in their ability to “create relationships and gain access to education” (p. 121) .

Because of this problem, 24 students with emotional and behavioral difficulties were offered a project to address these social phenomena with music therapy. The research design is explained in more detail below.

"One of the most remarkable results from the study was that 95% of the young people took part in the study by the end ... The results of the study showed, among other things, that the students were more self-confident after the lessons than they were before the lessons" (S121) .

In the 4th chapter presents Philppa Derrington a case vignette. A 14 year old boy “Joe” with moderate hearing loss (wearing a hearing aid), extremely challenging behavior, tendencies towards kleptomania and strong exaggerations (i.e. low self-esteem) was aware that no other therapy would be offered to him.

In practice, music was played in addition to recorded music (e.g. Metallica, Nickelback). Joe played the drums. Turning points such as: "He was very focused and wanted to play well, but gradually became more interested in drumming and music than the idea of ​​being in a band" (p. 123) in his intentional behavior are recognized and emphasized . "Over time, he began to be more honest in meetings and no longer had to make up stories about his glamorous lifestyle ... The staff now generally spoke of Joe as a more sensible student and one who usually spoke the truth" (p. 124) .

Finally, a self-assessment by Joe is presented in which he says that he now likes school better, that he now also received good grades and that these results have to do with music therapy for him.

Encouraged in Chapter 5 Philppa Derrington Music therapists to go to mainstream schools, start in a garage and then take responsibility for establishing music therapy and not staying in the garage (p. 125).

Eric Pfeifer: Music therapy and school: empiricism as a building block of a common foundation?

The search for similarities and differences between the two social areas of education (school) and health care (music therapy) leads Eric Pfeifer into the subject via a metaphor. However, water and oil, which show similar properties (liquid, malleable, can adapt to vessels), also have the problem of connecting with one another.

Following this introduction, reference is made to the etymological origins of therapy (service, service, care) and pedagogy (educational art, teacher) in order to underline the differences in social origins.

Finds through changes in society Eric Pfeifer a path that connects these two areas.

"School today seems to be so overwhelmed with requirements and tasks, going beyond the actual task of education, that many can no longer feel good there" (p. 128).

Using empirical findings, this article provides information that can be added to music therapy in schools in order to find a mutually beneficial and empathic path.

Chapter 2. "On the situation of the arts - and music in particular - in school".

Eric Pfeifer refers to Gembris, Kraemer and Meuse (2001), who argue that music would probably no longer be a subject in mainstream schools today, music would not have the traditional status of being a subject. It is reported that regular and compulsory schools in German-speaking countries are cutting or even removing music and art lessons from the curriculum. “There is a shortage of teachers with a corresponding degree in music and so music lessons either“ have to be dropped ”or be taken over by colleagues who are not really qualified. It seems understandable that this is often neither a benefit for the said colleagues nor for the music lessons themselves ”(p. 129).

The general situation for music and art is described as not very hopeful. In this little to be welcomed situation, music therapists enter the field and want to do so Eric Pfeiferto offer their services.

In Chapter 3, "The situation of therapy in schools", critical concerns are raised due to the above-mentioned differences between the two areas of society (education, health). “Processes of division, role conflicts, lack of secrecy, for example, are key words that are often mentioned in this context and express tendencies of distrust or doubt when it comes to opening the school gates for music therapy” (p. 130). The reference that other countries (Norway, Israel, Great Britain) have established music therapy in education puts this criticism into perspective.

But even in German-speaking countries, therapists (speech therapists, hippotherapists) are already being used. In order to substantiate the need for further therapists, a survey of Menebröcker (2001), which showed that “98% of teachers want therapeutic measures at school” (p. 131) and “72% are in favor of increased cooperation with therapists outside of school” (p. 131).

Chapter 4 introduces “Available empirical building blocks”. While some schools have already established music therapy internationally, the situation in Germany is only drawn with a few examples (Hamburg, Mannheim). In addition, it is mentioned that further projects in the German education system should be mentioned in the kindergarten area.

Meta-analyzes, like that Eric Pfeifer on the subject of “music therapy and school” are not available. A review that was able to identify 60 articles on the matter (about: children with disabilities, refugee background aged 4–17 years), however, did.

An overview of studies on music education is presented in Chapter 4.4. This chapter points Eric Pfeifer

Studies in the transitional areas of music education and music therapy related to studies in German-speaking countries (Austria 1973, Switzerland 1997) are highlighted. "Particularly impressive is the fact that more music (lessons) can promote general satisfaction at school - and this refers to both pupils and teachers" (p. 137). For the FRG, the long-term study at Berlin elementary schools with expanded music lessons from Bastian (2000, 2007) pointed out.

In his résumé complained Eric Pfeiferthat although studies have been generated, they are available with scientific flaws and / or only on “a specific study in a specific country”. “There is no international comparison or cooperation across national borders” (p. 138). It would serve the subject area if studies were carried out.

Anne-Katrin Jordan: Individual Music Therapy in Schools - A Comparative Video Study Focusing on Relationship Quality

Anne-Katrin Jordan draws on more than 20 years of experience on the subject of "music therapy in schools" in Hamburg (Germany) and Horten (Norway). Two individual music therapy lessons, which were accompanied by video, are examined by her for the quality of the relationship.

Yvonne Mäder: Music therapy and resilience. An empirical study of first year kindergarten children with a migration background

The author investigates the question of whether music therapy is a suitable method to help first year kindergarten children with a migration background to achieve better resilience behavior. Migration is on the one hand a risk factor for child development and on the other hand an opportunity, as these children grow up in cultural and linguistic diversity. “From their earliest socialization they begin to think in at least two cultural contexts, to reflect on norms and to question themselves” (p. 167). This leads to flexible thinking. Dealing with a new beginning or mourning for what has been abandoned is a risk factor. The question arises as to whether a new identity can be found. The family background and the new social environment are of great importance here. "Music therapy as a psychotherapeutic and resource-oriented procedure can complement the supportive integration efforts with pedagogically oriented specialist disciplines ... In the music therapy context, feelings of connection and belonging can be experienced, which can support the healthy development of children in a multicultural environment" (p. 168) .

Anna Lisa Prechtl:Music therapy prevention for 11-year-old girls using the example of self-worth. A case study about the “really strong” project.

In this case study, research is carried out in two Berlin facilities (grammar school, youth club) with the target group of 11-year-old girls (n = 9) on primary prevention of mental illnesses. The focus on a primary offer is justified by the fact that "15-22 percent of all children and adolescents (have) a mental disorder (have)" (with reference to Pinquart, Schwarzer & Zimmermann 2011) (p. 185). In chapter 2. "Developmental psychological basics of self-worth taking into account neuropsychotherapeutic findings", topics such as self-worth and self-concept are examined from a scientific point of view.

Wolfgang Zaindl:Live healthy, teach healthy. An integrative music therapy program for teachers.

Wolfgang Zaindl points out that teachers in Germany are often affected by mental and psychosomatic disorders. Early retirement due to illness had declined since 2001, but it was due to financial deductions in this context. Since health promotion and prevention are integral components of school development, the “Live healthy, teach healthy” program developed by the author is an appropriate offer.

Eric Pfeifer, Anne-Katrin Jordan, Thomas Stegemann and Sandra Lutz Hochreutner: Summing up thoughts - or what does the music therapeutic view from near to far promise in the context of educational settings?

With their summarizing thoughts, the editors summarize that although schools and music schools stand out in this volume, other educational institutions are also meant to be central. A look at the German-speaking area and other countries (Great Britain, Norway) calls for dealing with legal texts such as the UN Convention on the Rights of Persons with Disabilities, and taking note of the results of health surveys and studies from the (music) pedagogical field.

It is recommended: “Before music therapy projects are established and researched in educational institutions, the need should first be analyzed” (p. 213). Further impulses for future projects and plans are set. The authors perceive that the climate for the discussion “music therapy in educational institutions” is changing. “In the wind of such a mood, the contributions contained in this compilation can blow further strengthening wind into the sails and offer helpful insights. School and other educational settings have always been interesting for music therapy and seem to exert a natural attraction on them ”(p. 216).

It is eager to see where and how music therapists will be involved in the future.


The present anthology shows the most up-to-date fields of music therapy that arise as a result of changes in society.

With interdisciplinary and intercultural perspectives and experiences, the reader is presented with vivid perspectives that allow them to develop a solid point of view on the topic. Be it on the basis of educational studies, case vignettes or specific music therapy research projects. An anthology for

  • Music therapists, but also for
  • Educators / teachers,
  • School social workers and psychologists
  • Educational orHealth politicians

shows as extremely useful literature from a technical point of view.

The authors point out in many places that educational institutions and music therapy have plenty of points of contact (historically as well as in terms of content). However, the state of research and literature on the matter is currently still poor. Therefore, the anthology conveys a spirit of optimism and offers enormous potential to further investigate the social phenomenon "music therapy in educational institutions" and subsequently to publish it.


The anthology is characterized by its consistent structure. 13 specialist articles give a comprehensive insight into the subject of "Music Therapy in Educational Settings". The topic is examined from several perspectives (interdisciplinary and intercultural). Educational policy studies, practical examples, as well as music therapy research projects on the topic are presented in a technically profound way. The spectrum includes, kindergarten, school, youth club from the education system and contributions from Great Britain, Norway, Switzerland, Austria show certain handling from an intercultural point of view. Prospects for further research projects are also presented.

Review by
Dr. Frank Henn
Educational scientist, social pedagogue, music pedagogue, music therapist DMtG certified), alternative practitioner - psychotherapy
Homepage www.musikcoaching.de
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Frank Henn. Review from 07.05.2019 to: Anne-Katrin Jordan, Eric Pfeifer, Thomas Stegemann, Sandra Lutz Hochreutener (Eds.): Music therapy in educational settings. Impulses from practice, theory and research. Waxmann Verlag (Münster, New York) 2018. ISBN 978-3-8309-3722-7. In: socialnet reviews, ISSN 2190-9245, https://www.socialnet.de/rezensions/24911.php, date of access May 19, 2021.

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