Supervision und Intervision in der Musiktherapie / Supervision and Intervision in Music Therapy
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In this volume, eight authors provide insight into concepts and ideas of supervision, counseling and intervision, primarily in relation to music therapy methods and procedures. In six German-language articles and one English-language article, this subject unfolds from theoretical foundations to detailed literature research, as well as concrete insights from diverse areas of practice.The book begins with a fundamental article regarding the subject area of supervision, compiled by Astrid Schreyögg (psychologist, psychotherapist and supervisor). She describes diverse theoretical and methodical a...
In this volume, eight authors provide insight into concepts and ideas of supervision, counseling and intervision, primarily in relation to music therapy methods and procedures. In six German-language articles and one English-language article, this subject unfolds from theoretical foundations to detailed literature research, as well as concrete insights from diverse areas of practice.
The book begins with a fundamental article regarding the subject area of supervision, compiled by Astrid Schreyögg (psychologist, psychotherapist and supervisor). She describes diverse theoretical and methodical approaches and closes with a plea for the best possible field expertise and quality of training. With her experience and expertise, reference theories of supervision are thoroughly addressed, revolving around a circle of development - from the start of administrative and clinical counseling during the 20th century in the USA to diversity in content and form of current supervision approaches, to differentiation of various contexts and forms of encounter in supervision.
In the following article, the music therapist and supervisor, Almut Seidel takes on the considerable task of extensive literature research of German-language articles, outlining Music Therapy/Supervision between the years 1979-2014.
In the subsequent articles, the authors (music therapists and supervisors) take on differing practice-related perspectives. Andreas Wölfl concerns himself with the question: "How much music is needed in supervision for music therapists?"
Against the background of her professional work in Slovenia, Claudia Knoll reflects upon situations in supervision in which music therapy improvisation is used by music therapists, as well as by non-music therapists.
The two authors of the English-language article, Sarah B. Johnson and Blythe LaGasse,
present concrete examples from music therapy supervision enhanced by the aspect of online consultation.
Swiss author, Gabriela Scherrer Vollenweider, also offers insight into supervision contexts - here, as a "basic module" in a music therapy degree program curriculum.
In the last two articles, Boris Becker presents the format of "Intervision", while Johannes Kämper examines the question: "Do our patients also need supervision?"
The diverse approaches and theoretical backgrounds of the different authors should encourage discussion in order to further advance appropriate counseling concepts in professional practice related to music therapy and supervision/intervision.
The book begins with a fundamental article regarding the subject area of supervision, compiled by Astrid Schreyögg (psychologist, psychotherapist and supervisor). She describes diverse theoretical and methodical approaches and closes with a plea for the best possible field expertise and quality of training. With her experience and expertise, reference theories of supervision are thoroughly addressed, revolving around a circle of development - from the start of administrative and clinical counseling during the 20th century in the USA to diversity in content and form of current supervision approaches, to differentiation of various contexts and forms of encounter in supervision.
In the following article, the music therapist and supervisor, Almut Seidel takes on the considerable task of extensive literature research of German-language articles, outlining Music Therapy/Supervision between the years 1979-2014.
In the subsequent articles, the authors (music therapists and supervisors) take on differing practice-related perspectives. Andreas Wölfl concerns himself with the question: "How much music is needed in supervision for music therapists?"
Against the background of her professional work in Slovenia, Claudia Knoll reflects upon situations in supervision in which music therapy improvisation is used by music therapists, as well as by non-music therapists.
The two authors of the English-language article, Sarah B. Johnson and Blythe LaGasse,
present concrete examples from music therapy supervision enhanced by the aspect of online consultation.
Swiss author, Gabriela Scherrer Vollenweider, also offers insight into supervision contexts - here, as a "basic module" in a music therapy degree program curriculum.
In the last two articles, Boris Becker presents the format of "Intervision", while Johannes Kämper examines the question: "Do our patients also need supervision?"
The diverse approaches and theoretical backgrounds of the different authors should encourage discussion in order to further advance appropriate counseling concepts in professional practice related to music therapy and supervision/intervision.
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