First results from a music therapy research project on interpersonal communication competences of adults with acquired brain injury (ABI). The research investigates the effect music therapy can have on interpersonal communication competences in music and daily life using the Interpersonal Communication Competence Scale (ICCS; Rubin & Martin, 1994) and a newly developed rater tool. The rationale of using music in neurological rehabilitation is that musical interaction relies on many different areas of the brain working together. When music therapists and persons with ABI play music together, they are given an opportunity for simultaneous activation of the emotional, motor, cognitive and communicative networks of the brain. Music therapy in neurological rehabilitation most often addresses functional needs such as voice training, physical training on instruments, song writing, emotional relief, relaxation, and memory (Baker & Tamplin, 2006). When client and music therapist play together, they will continually adjust their interaction behavior. While playing they will use interpersonal competences such as empathy, self-disclosure, social relaxation, expressiveness, etc. It is hypothesized that a secondary gain in doing music therapy in neurological rehabilitation is improved interpersonal competences. This dependent variable is measured with ICCS. Client, staff and relatives will all evaluate the client's interpersonal competences using the ICCS pre and post 20/40 music therapy sessions. In order to measure interpersonal competences in musical improvisation, ICCS is modified into a music interaction version (Hald & Wigram, 2010). In one of the first and in the last music therapy session the client does four interpersonal musical exercises; dialog, follow me, keep focus, and free improvisation. These exercises are designed to reveal information on interpersonal competences in musical improvisation.

This presentation exposes and summarizes the author's career at the Service Centre in Montecchio Precalcino, Vicenza (Italy) – decades of experience in improvisational Music Therapy with active methodology at a former psychiatric hospital now divided into three large residential structures. The author, in light of the considerable number of patients, proposes a quantitative survey comparing reasons for referral to music therapy, illustrates, graphically, the main determinant symptoms of referring, and presents a corresponding rehabilitation strategy in music therapy practice for each, based on personal experience. In this way, a transversal line of symptoms compared to the general diagnostic list is proposed, with music therapy complementing guidelines of established methods in psychiatric rehabilitation. In conclusion, a short report of a clinical case is presented.

Analytical music listening – the guided fantasies method (Radulovic, 1996) represents a technique from the domain of the receptive, reconstructive music therapy of the transpersonal range. Therapeutic progress is based on the paradoxical intention principle, and the therapeutical process phases are clearly defined in relation to specific disturbances. The aim of work is to represent the qualitative analysis method of the AML music selection and qualitative analysis protocol of the individual protocol by application of the ALM GFM method. Material consists of the therapy protocols of the patients from the Psychiatric Clinic in Belgrade, in the period 1994 – 2010, as well as of healthy persons, candidates for Hatorum education, the Music Therapy Education Center of Belgrade. The introductory part shall present the qualitative analysis of the music selection method in relation to the form and the content of the music piece, and in relation to specific therapy aims, as well as the qualitative fantasy analysis in the analytical music listening – the guided fantasies method. Based on applying specific music pieces, the qualitative analysis and the ”profile“ of the used music pieces in the specific therapy phases, as well as of the specific therapy intervention, shall be provided in the second part of the work. According to qualitative analysis of fantasies obtained from the clients in the individual and group therapy, and the didactic analysis of the candidates undergoing education, we represent the opinion that it is possible to determine certain characteristics in the form or the content of the music piece, which, within the clear methodology frame, achieve the therapy aim. The music selection in analytical music listening – the guided fantasies method should be an explicitly individualized process adjusted to the moment and to the specific needs of individuals or a group, and all elements in music preparation and realization of sessions should be considered in the context of transference and counter-transference.

Developmental problems and disabilities are very complex. A problem in one developmental area often affects other areas of development as well as the relationship of the child to his parents and siblings. In order to meet the needs of these children and their families, we need an approach to music therapy that is oriented to the developmental process of the child and which at the same time allows great flexibility in dealing with him and his family. Developmental music therapy as defined and described by Bruscia (1998) makes this possible. Music therapy is often recommended for children with developmental disabilities at the Kinderzentrum München, the first centre for social paediatrics in Germany. The goal of social paediatrics is to diagnose and treat children who show signs of developmental disabilities early in life in order to counteract the effects of the condition as much as possible. The approach developed there by Gertrud Orff still forms the basis for the music therapy used there today. My presentation will describe this approach to music therapy. The emphasis will be on the treatment of young children. Using case examples from clinical practice, we will consider principles of therapy, establishing indications to therapy as well as working with parents and possible roles of therapy within the clinical setting. Video clips will be used to illustrate these topics.

For many children home is not a safe and secure place as they grow up with repeated experiences of violence between family members. This can lead to difficulties that manifest at school and preschool. Music therapy can provide an opportunity to process emotions related to traumatic events and difficulties concerning attachment and family relations. In an investigation of four long-term music therapies with children aged 3-12, therapeutic themes and mastering processes are identified and discussed. This presentation is based on my master thesis which investigates how four children with experiences of violence in their homes make use of music therapy. The study shows that the therapies contain material concerning the children's inner worlds in the meaning of thoughts, feelings, social ability and relations, as well as their outer realities like family, school and preschool. The children's mastering processes include strategies to get rest and energy, to handle questions concerning interpersonal and intrapersonal problems and understanding on both explicit and implicit level. They vary between working on their traumas and themes concerning life here and now, and in the future. The therapies contain mainly musical activities, which are used in different ways in all these areas. Musical activities are complemented by talk, drawing and play. This is mainly an oral presentation although some musical examples will be included.

The establishment of music therapy in European countries shows a huge range of heterogeneity. While some countries are almost successfully working on their state recognition others are still struggling with basic structural difficulties. Even though music therapists in the latter countries might be highly educated, the institutional and political backing is missing and a lot of pioneer work has to be done in establishing the music therapy profession out in the “field”. The Neighbourhood Conference was initiated as a pilot project to collect ideas about how countries close to each other can promote each other in the establishment of music therapy in those countries with structural difficulties. This neighbourly help is meant to be supportive, collaborative, and direct. The aim is to find creative possibilities to support each other on a very practical level (e.g. find observation possibilities, initiate supervision groups, using modern communication media). This time Austria serves as a host country for this event and representatives from Croatia, Hungary, Serbia, and Slovenia are taking part in the discussion. Results of this exchange between music therapy neighbours will be presented and hopefully contributing to a broader discussion in this area which is lead by the EEWG (East European Working Group).