Austin, D. (2008). The theory and practice of vocal psychotherapy: Songs of the self. Philadelphia: Jessica Kingsley Publishers. 223 pages. ISBN 978 1 84310 878 8

Austin, D. (2008). The theory and practice of vocal psychotherapy psychotherapy: Songs of the self. Philadelphia: Jessica Kingsley Publishers. 223 pages. ISBN 978 1 84310 878 8.The Theory and Practice of Vocal Psychotherapy: Songs of the Self is a comprehensive exploration of music therapy practice within a depth psychology framework. As succinctly presented in the introduction, Dr. Austin developed vocal psychotherapy based on her personal relationship with and use of music in her life journey. Her writing combines theory with clinical practice to illustrate how the voice can be used as a powerful and transformative psychotherapeutic medium. The book is divided into two parts. Part 1 provides the theoretical underpinnings of vocal psychotherapy whereas Part 2 gives an overview of the techniques that Austin has developed. Case material is used throughout the book to illustrate the theoretical constructs upon which vocal psychotherapy is built and to demonstrate the transformative nature of her work.Part I, Theoretical Foundations of Vocal Psychotherapy, begins with a chapter on the voice. It is here that Austin sets forth her rationale for using the voice in psychotherapy. Chapter 1 opens with a clinical vignette in which Austin describes how she works with the voice to meet the stated intentions of her client. She goes onto to discuss the value of singing on both a physiological and emotional level. The chapter ends with a focus on the importance of the breath in helping individuals re-discover their voice. Austin describes several breathing and vocal exercises that she has used in her work. These are given in enough detail so that the experienced music therapist could incorporate them into their work if deemed appropriate.The remaining chapters in Part I focus on the various theorists Austin has drawn from in developing her method, including Jungian (Chapter 2), Object Relations (Chapter 3), Trauma Theory (Chapter 4) and Intersubjectivity (Chapter 5). In each of these chapters, she gives the reader an overview of the constructs that have informed her clinical practice using language that is accessible for all music therapists, regardless of their familiarity of each of these theories. She augments her description of each theoretical construct with case material further demonstrating the link between theory and music therapy clinical practice.Part I concludes with a chapter devoted entirely to countertransference. Austin begins by giving the reader an overview of the myriad ways countertransference is understood in psychotherapeutic circles. She then moves into a detailed discussion about the importance of recognizing one's countertransference so as to be able to use these reactions in a way that will be helpful rather than harmful to the client. As in the previous chapters, Austin supplements didactic information with case material to help the reader better understand the concepts she is explaining. This chapter also underscores the importance of self-care and personal therapy for music therapists.There are seven chapters in Part II; each focusing on a different aspect of vocal psychotherapy. Chapter 7 sets the stage for the practice of vocal psychotherapy, although the guidelines and suggestions are hallmarks of ethical music therapy practice in general. Her discussion of the listening process is especially relevant for music therapists. Here Austin describes the importance of attending to one's self (one's thoughts, feelings, body sensations, etc.) and the client (his/her words, music, body posture, etc.). She then goes on to describe how she uses that information to inform her clinical decisions.Chapter 8 explores the concept of resistance and how it many manifest in the client or the therapist. Austin again draws from her clinical experience to demonstrate how this concept traditionally associated with traditional verbal psychotherapy, can manifest in the client or therapist's willingness or reticence to engage in vocalizing, toning, or singing. …