Music--Motion and Emotion by Sekeles Chava; & Cara Shores

Author:Sekeles, Chava; & Cara Shores
Language: eng
Format: epub
Publisher: Barcelona Publishers
Published: 1996-08-15T00:00:00+00:00

CONCLUSION

In this chapter I have presented a program of developmental therapy which employs music as an intermediate agent. In this program sensory-movemental exercises and games are aimed at improving the patient’s physical ability to function as well as encouraging her to expand her awareness of her psychological and societal situation.

We still lack definitive scientific research concerning the links between physical posture and mental receptivity, or the influences of improved physical stability as an encouragement to learning ability. However clinical observation in all spheres concerned with developmental-integrative therapy demonstrate that in practice there does exist a positive connection between both of these.

In this context the acknowledged contribution of music to the various fields of developmental therapy (occupational therapy, physiotherapy, speech therapy, psychotherapy, etc.) emerges from the following aspects:

1. The inherent potential of music to evoke movemental reaction, and the ability to direct such movement by means of specific musical components, mainly tempo, dynamics, tonal range, continuation and cessation.

2. The natural combination of vocality’ with instruments, and/or movement, which permits both creative and playful treatment of vocal problems.

3. The natural links between music and emotions which enable the patient to make contact with repressed feelings and subjects.

4. The possibilities presented by playing on a variety of instruments for the development of fine motor skills in an enjoyable and satisfying manner.

5. The sensory-motor integration which optimal musical activity facilitates.

As an example of a music therapy process, first aimed at the creation of awareness and the overcoming of hypotonia, we took the case of Anat, born with Down’s Syndrome (Trisomy 21), who also suffered from pronounced hypotonia. Despite the fact that she underwent an impressive series of treatments, her hypotonia continued to sabotage her movemental abilities, above and beyond the basic movements demanded by day-to-day existence. According to observation by others, as well as by me, there seemed to be some connection between her physical alertness, concentration and intellectual responsitivity.

Based on many months of observing Anat as well as other Down’s Syndrome children, I drew up a plan for a therapy session which would include various stages and aspects of motor-integration by means of music.

Over a three-month period the sensory-movemental phase was reduced to about half an hour, thus allowing more time to deal with the emotional matters which Anat would raise. As her skills developed, she was more and more capable of increasing muscle tone and improving her overall Body Alertness in a very short space of time. It is worthwhile mentioning here that despite differences of category, natural potential, and therapeutic and family history, clinical records show a relative degree of progress in all those Down’s Syndrome children who for at least a whole year were subjected to continuous music therapy, as described above.

I should like to stress that a combination of movement and music therapy administered by two specialists is to be highly recommended as it enables a higher level of awareness of the body and its repertoire of movement.*

There can be no doubt that as long as the child continues

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