Garred, R. (2006). Music as therapy: A dialogical perspective . Gilsum, NH: Barcelona Publishers. 344 pages. ISBN 1-891278-40-1. $46

Garred, R. (2006). Music as therapy: A dialogical perspective. Gilsum, NH: Barcelona Publishers. 344 pages. ISBN 1891278-40-1. $46. In Music as Therapy: A Dialogical Perspective, author Rudy Garred explores a theoretical perspective on the nature of music-as-therapy or music therapy processes in which therapeutic change occurs within the music experience itself. In formulating and conveying this "general" theory (i.e., a theory that applies meaningfully to all expressions of music therapy, in one way or another), Garred adopts a dialogical point of view on the nature of music-as-therapy, or a view in which the living, interactive, relational components of music therapy serve to create the conditions for therapeutic change. Garred bases his perspective largely upon the constructs of philosopher Martin Buber, who emphasized that in order for persons to develop toward their true potential on a fully human level, they must encounter one another as whole persons with unique identities, individual agency, and open possibility for being (l-Thou) - this as opposed to relating to others as reified objects that can be circumscribed, categorized, and deterministically manipulated (/-/f). In the human encounter, persons dialogue with one another, by sharing dimensions of their humanity, which goes beyond the mere exchange of information. Buber extends this idea of the dialogical encounter to artifacts of humanity that are often assigned object status, such as texts and works of art. For Buber, this kind of fully human encounter does not occur as a result of an externallyimposed intervention based upon scientific or technical prediction and control (or even simply willing it to happen) - but rather occurs "by grace," when the conditions encourage the possibility, and when encountering parties are themselves receptive to such an encounter. Garred elaborates upon how Buber's philosophy can be applied to music therapy, in that music-as-therapy experiences offer special opportunities for transformative, dialogical encounters with both music (as a living work) and therapist. In doing so, Garred does not dismiss technical elements of the music therapy process that also contribute to promoting health, but it is the dialogical dimension that truly distinguishes his thinking as a unique theoretical perspective. In Chapter One, Garred summarizes existing theories on music-as-therapy, emphasizing the contrasts between analytically informed music psychotherapy theory (wherein music experiences serve as means to therapeutic discussion and insights based in the extramusical, verbal realm) and musiccentered therapy theory (wherein therapeutic change occurs within and through music experiences themselves). Garred locates the focus of his text within the latter type, and posits a need within the music therapy field for a tenable theory on the nature and process of experiential, transformative musicas-therapy. However, he also formulates a critique of musiccentered theories that rely upon musical constructs alone to explain everything in music therapy, and proposes a perspective rooted in the humanistic/existential philosophy of Martin Buber, can serve effectively as a common ground for a phenomenon (i.e., music therapy) that is, at its core, musical, clinical, experiential, and relational. In Chapter Two, Garred summarizes the central tenets of Martin Buber's relational and dialogical philosophy. Based upon these tenets, in Chapter Three, Garred proposes a model of music therapy in which the process can be understood as a relational triad involving client, therapist, and music. Within the triad, there are three possible relational dyads, each mediated by the third element. Thus (for example), the music serves as a "mediating space" through which the client can enter into dialogue with the therapist, in the context of promoting health. The model demonstrates that the therapist does not merely control, administer, and/or manipulate either client or music through clinical intention, but rather by entering into relational presence with client and music, through which meanings emerge via mutuality and shared experience. …