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Flute, Accordion or Clarinet?: Using the Characteristics of Our Instruments in Music Therapy

By Dawn Loombe, Jo Tomlinson, Amelia Oldfield, Henry Dunn (Contribution by), Catrin Piears-Banton (Contribution by), Colette Salkeld (Contribution by), Susan Greenhalgh (Contribution by), Caroline Anderson (Contribution by), Emily Corke (Contribution by), Mary-Clare Fearn (Contribution by), Esther Mitchell (Contribution by), Philip Hughes (Contribution by), Annie Tyhurst (Contribution by), Catherine Warner (Contribution by), Tessa Watson (Contribution by), Philippa Derrington (Contribution by), Mike Gilroy (Contribution by), Shlomi Hason (Contribution by), Concetta Tomaino (Contribution by), Penelope Birnstingl (Contribution by), Lisa Margetts (Contribution by), Grace Watts (Contribution by), Katy Bell (Contribution by), Nicky Haire (Contribution by), Trisha Montague (Contribution by), Sharon Warnes (Contribution by), Angela Harrison (Contribution by), Oonagh Jones (Contribution by), Rivka Gottlieb (Contribution by), Anna Lockett (Contribution by), Holly Mentzer (Contribution by), Steve Lyons (Contribution by), Jonathan Poole (Contribution by), Caroline Long (Contribution by), Alex Street (Contribution by), Prodromos Stylianou (Contribution by), Trygve Aasgaard (Contribution by), George Murray (Contribution by), Helen Mottram (Contribution by), Nathan Bettany (Contribution by), Stella Compton-Dickinson (Contribution by), Spela Loti Knoll (Contribution by), Luke Annesley (Contribution by), Susanna Crociani (Contribution by), Billy Davidson (Contribution by), Anita Vaz (Contribution by), Paolo Pizziolo (Contribution by), Joseph Piccinnini (Contribution by), John Preston (Contribution by), Veronica Austin (Contribution by), Sarah Rodgers (Foreword by), Joanna Burley (Contribution by)
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By Dawn Loombe, Jo Tomlinson, Amelia Oldfield, Henry Dunn (Contribution by), Catrin Piears-Banton (Contribution by), Colette Salkeld (Contribution by), Susan Greenhalgh (Contribution by), Caroline Anderson (Contribution by), Emily Corke (Contribution by), Mary-Clare Fearn (Contribution by), Esther Mitchell (Contribution by), Philip Hughes (Contribution by), Annie Tyhurst (Contribution by), Catherine Warner (Contribution by), Tessa Watson (Contribution by), Philippa Derrington (Contribution by), Mike Gilroy (Contribution by), Shlomi Hason (Contribution by), Concetta Tomaino (Contribution by), Penelope Birnstingl (Contribution by), Lisa Margetts (Contribution by), Grace Watts (Contribution by), Katy Bell (Contribution by), Nicky Haire (Contribution by), Trisha Montague (Contribution by), Sharon Warnes (Contribution by), Angela Harrison (Contribution by), Oonagh Jones (Contribution by), Rivka Gottlieb (Contribution by), Anna Lockett (Contribution by), Holly Mentzer (Contribution by), Steve Lyons (Contribution by), Jonathan Poole (Contribution by), Caroline Long (Contribution by), Alex Street (Contribution by), Prodromos Stylianou (Contribution by), Trygve Aasgaard (Contribution by), George Murray (Contribution by), Helen Mottram (Contribution by), Nathan Bettany (Contribution by), Stella Compton-Dickinson (Contribution by), Spela Loti Knoll (Contribution by), Luke Annesley (Contribution by), Susanna Crociani (Contribution by), Billy Davidson (Contribution by), Anita Vaz (Contribution by), Paolo Pizziolo (Contribution by), Joseph Piccinnini (Contribution by), John Preston (Contribution by), Veronica Austin (Contribution by), Sarah Rodgers (Foreword by), Joanna Burley (Contribution by)
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Music therapists are trained to use their first study instrument in clinical practice, yet existing literature focuses almost exclusively on the use of piano, basic percussion and voice.
This illuminating book brings together international music therapists who use a diverse range of musical instruments in their clinical work: the clarinet, the piano accordion, the flute, the cello, the trumpet and flugelhorn, the bassoon, the violin, the viola, the harp, the guitar, lower brass instruments (...

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