1. Unique characteristics of music improvisation in music therapy

2. Introduction -We can explain the unique characteristics of music improvisation in music therapy by two ways: -Describing differences between the use of music improvisation and pre-composed music in the brain. -Describing the uniques characteristics of music improvisation in the clinical practice.

3. -Investigators compared brain processing during memorized versus spontaneous musical processes (they called these overlearned and improvised, respectively) on two different levels. - A simple scalar level and a more complex harmonic progression. -Beckstead, David (2013) Improvisation: Thinking and Playing Music. Music Educators Journal,99: 69 Music improvisation in the brain

4. - The results are fascinating on two fronts. -First, there seemed to be no difference in terms of cognitive processing between a simple, quarter-note, scalar improvisation and the more rhythmically complex harmonic improvisation. -Second, and on a much deeper level, it appears, despite the similarity of scalar and harmonic association in the tasks, that improvised or spontaneous playing seems to involve an entirely different area of the prefrontal cortex than does performing memorized or read passages. Music improvisation in the brain

5. - Furthermore, such spontaneous playing actually deactivates the areas associated with overlearned playing (lateral portions of the prefron­tal cortex) and activates portions of the medial prefrontal cortex (MPFC). - To put it in context, the MPFC (although poorly understood) seems to be associated with “multiple cognitive functions in the pur­suit of behavioral goals” and “maintaining an overriding set of intentions while executing a series of diverse behavioral subroutines.” Music improvisation in the brain

6. - As well, the portions of the prefrontal cortex activated during overlearned playing (and deactivated during improvisation) are associated with more typical, school- like cognitive processing such as plan­ning, stepwise implementation of tasks, and effortful problem solving. - In short, it appears that we access the region of the brain associated with sequence, planning, and problem solving when we play memorized or read passages. Music improvisation in the brain

7. -During improvisation, we deactivate this region and switch to cognitive processing associated with meditation, daydreaming, and complex, long-term multitasking. -Manzano, Örjan; Ullén, Fredrik (2012) Activation and connectivity patterns of the presupplementary and dorsal premotor areas during free improvisation of melodies and rhythms. NeuroImage 63;272–280. Music improvisation in the brain

8. - Improvisation is a primary method of work for many music therapists, assuming that “the sounds we make can represent us, and that improvised music can provide the framework for an interpersonal relationship between a therapist and client(s). Wigram, T. (2004). Improvisation. Methods and techniques for music therapy clinicians, educators, and students. London: Jessica Kingsley. Music improvisation in music therapy as unique method

9. - The immediacy, involvement, and unpredictability of improvisations apply to an individual’s attention and listening, to his or her activity and creativity, awareness and presence. Ansdell, G. (1995). Music for life. Aspects of creative music therapy with adult clients. London: Jessica Kingsley. Music improvisation in music therapy as unique method

10. -The temporal organization in improvisations acts as a physical framework for the participation of client and therapist. - The improvisation offers “a moment by- moment scaffolding on which people can develop their own embodied musical participation”. - A person in improvisational music therapy does not need to fit into a given musical structure, nor conform to the tempo of a precomposed song, but actively creates the temporal organization of the song. Music improvisation in music therapy as unique method

11. Unique and essential principles in IMT for children with ASD (TIME-A treatment guide) FACILITATE MUSICAL & EMOTIONAL ATTUNEMENT. SCAFFOLD INTERACTIONS DYNAMICALLY TAP INTO SHARED HISTORY OF (MUSICAL) INTERACTION FACILITATE ENJOYMENT