Supervision of Music Therapy: A Theoretical and Practical Handbook (2010)

Supervision of music therapy: A theoretical and practical handbook Odell-Miller, Helen & Richards, Eleanor (Eds.) Routledge: New York (2005) ISBN: 978-0-415-41126-4Prior to the publication of Michele Forinash's (2001] edited book on music therapy supervision, the existing literature on this important topic area was rather sparse. Although a review of academic books and journals by the present reviewer has revealed an increase in publications since that time, many music therapy supervision models and practices are still developing or are evolving with the times, and much work remains to be done. Helen Odell-Miller and Eleanor Richards' theoretical and practical handbook makes a significant contribution to this endeavor.Supervision of Music Therapy is one volume from a five volume series edited by Joy Schaverien entitled Supervision in the Arts Therapies. This series was conceived through collaborations between colleagues from the United Kingdom (UK) who work in the fields of art therapy, music therapy, drama therapy, dance movement therapy, and the related discipline of sandplay therapy. It is bound together by the idea that each arts therapy discipline utilizes objects, sounds and/or actions to mediate psychological processes within the context of a therapeutic relationship. Although each volume is geared toward a specific arts therapy profession or discipline, the entire series is meant to enhance the knowledge of all creative arts therapies professionals as well as practitioners from other counseling or health care fields. While each book focuses on discipline specific aspects of supervision, interdisciplinary theory and practices from other professions are incorporated into the content. It is important to note however, that the series is written from a UK/European perspective. Readers from other parts of the world may find that some of the material is not applicable to their situation, or that it needs to be adapted in order to make it relevant to a particular arts therapy culture or context.Supervision of Music Therapy consists of ten chapters, where authors present their clinical, practical and/or theoretical perspectives in a wide variety of ways. Most of these chapters (with the exception of Chapters One and Ten) contain real life examples from an assortment of supervisory situations. This case-focused approach helps the reader to understand the context within which the supervision took place, and it also demonstrates how each author's preferred approach or philosophy shaped specific supervision processes.The book opens with a chapter by Helen Odell-Miller who explores the history and ongoing development of music therapy supervision in the UK Selected models and practices from other parts of the world are also highlighted. In the UK, a recent move to a 2-year MA-level music therapy training requirement (from post graduate certification) as well as government regulation has resulted in music therapy supervision becoming a mandatory part of the practice and training of all music therapists. Eligibility criteria and standards of practice for music therapy supervisors in the UK (currently under revision) are also included in this chapter. This information may be particularly relevant to Canadian arts therapists who are practicing in provinces where similar issues may arise if government regulation becomes a reality. It may also be of interest to arts therapy educators or professionals who are responsible for developing competencies or professional standards related to arts therapy supervision.In Chapter Two, Eleanor Richards discusses issues that may arise with students who are in the early stages of their training and working with adults who have learning disabilities. Although it is rooted in a specific clinical context, this information may be helpful for new supervisors, or for supervisors who work with students in their initial practicum placements. Richards provides examples of anxieties and countertransference reactions that her students have experienced, and the ways in which she chose to address them. …