Chase, K. M. (2002). The music therapy assessment handhook . Columbus, MS: Southern Pen Publishing. 69 pages. No ISBN available. $35.00

Chase, K. M. (2002). The music therapy assessment handbook. Columbus, MS: Southern Pen Publishing. 69 pages. No ISBN available. $35.00 The music therapy assessment handbook is a solid resource for use in any undergraduate music therapy curriculum. The book is well-structured and provides discussion questions for undergraduate music therapy educators to utilize in the classroom. This text is divided into three sections and takes the reader through various components of music therapy assessment, beginning with the question "What is Assessment?", continuing with how to conduct an assessment, and ending with two appendices outlining domain areas and music experiences for use in music therapy assessment. A foreword by Roger Smeltekop, M.M., MT-BC, states that this book may help lead music therapists to consider more closely the purposes and reasons for assessment. He also states, "Because the concepts that govern our decisions regarding assessment are seldom absolute or set in stone, the questions and assignments offered at the end of each chapter induce us to divergently ponder our personal extrapolations and interpretations to expand our understanding. These can be useful to neophyte and seasoned therapists alike" (p. 5). Section 1 contains the first three chapters of the book: Defining Assessment, Reasons for Assessment, and Choosing an Assessment. In Chapter 1, Defining Assessment, Chase helps differentiate the terms "formal assessment" and "standardized assessment" and describes how each are addressed in the music therapy profession and in related professions. The author cites accountability, justification of services and credibility as rationale for music therapy assessment in Chapter 2. In Chapter 3, Choosing an Assessment, the author outlines Bruscia's four types of assessment which can help provide the student with a focus for determining assessment content based upon objectives the therapist needs to address. Chase does an excellent job of increasing the awareness of the connection between one's theoretical orientation and types of assessment chosen in this chapter, but more explanation and detail in this area would be extremely valuable. Section 2 is allocated into the following chapters: Deciding on Assessment Areas, Published Assessment Tools, and Creating an Assessment. Chase's description of Pre-Assessment Information and importance of these areas are helpful for students just learning about the assessment process. In addition, Chase links information on domain areas and sub-areas (global assessment) to the AMTA Standards of Clinical Practice (2001) to assist therapists in determining appropriate areas to address in assessment, depending upon population. She has created a useful chart based upon Boxill's Music Therapy Assessment, which addresses the primary domain areas as motor, communication, cognitive, affective, social, and music. Included are sub-areas for each domain and brief descriptions of behaviors that might be included under the "umbrella" of each sub-area. Chapter 4, Deciding on Assessment Areas, clearly differentiates between Music Therapy Eligibility Assessment, Client-Centered Assessment, and Specific-Needs Assessment. One of the most helpful resources listed in the book occurs in Chapter 5, Published Assessment Tools. This chapter outlines published music therapy assessment tools, author(s), possible objectives and synopsis. An explanation of which population a particular assessment focuses upon is also provided. In Chapter 6, Chase does include a small section about creating your own assessment, but such a task truly needs more in-depth explanation than this section is able to provide. Section 3 includes Chapter 7 and 8: Conducting an Assessment and Case Studies. Chapter 7 is brief and the author gives a short explanation about conducting an assessment. …