Traditional oriental music therapy - a regulatory and relational approach

Music Therapy TodayVol. VII (3) (October)

Traditional oriental music therapy – a regulatory and relational approach

Gerhard Tucek

Introduction

Traditional oriental music therapy is a system documented over about

one thousand years, of therapeutic, prophylactic and rehabilitative rele-

vance, as we see it today, and has proved its worth in practice. In its tradi-

tional form it was used in hospitals as a regular paramedical discipline

and part of Islamic arts of healing from the 9th century onwards.

One theoretical basis was humoral pathology (the theory of four

humours), another the religious-philosophical conviction that music – as

an audible musical transposition of cosmic sound – nurtures the „spirit

soul“ as well as the „material body“.

The idea was that a variety of different microtonal scales (Makamat)

helped to produce certain desired effects in organic systems and emotions

through a regulative effect of music on the „humours“. For further his-

toric details see references1.

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Tucek, G. (2006) Traditional oriental music therapy – a regulatory and relational approach.

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With the replacement of the humoral-pathological treatment model by

the concept of biomedicine, this therapy approach disappeared from hos-

pitals in Turkey and the Arab countries. In the middle of the 1980s, Oruc

Güvenc returned to the approach in Istambul and tried to re-establish it in

the traditional form. His efforts assumed an intercultural dimension

through cooperation with this author from 1984 onwards (compare

Tucek, 2003). In Austria today, the approach has been adapted to local

conditions with regard to clinical needs, is well established and increas-

ingly evaluated according to scientific criteria (see below).

A basic difference between the traditional and the current therapy con-

cept may be summed up as follows: in the Middle Ages, music was inter-

preted as an objective quality of being (in orient and occident alike). The

individual was able to make this quality visible, but not capable of pro-

ducing it himself.

Today, in contrast, music is interpreted as a subjective human expression

that may find its fulfilment in beauty.

For an understanding of traditional oriental music therapy (as it is prac-

ticed and taught in Austria today) this change means that the therapeutic

effects are no longer based on a ‚cosmic system’ from outside, but rather

on a re-structuring of an inner system. This occurs in the work (by those

involved in the process) on meaningful musical contents and forms of

expression that may be experienced as pertinent. The method used in this

context comprises an alternating musical dialogue between patient and

therapist (compare Tucek 2005a), the „regulative-medical“ effects of

music played live by the therapist, as well as therapeutic movement and

dance exercises.

1. Güvenc, (1985); Kümmel, (1977); Neubauer, (1990); Schipperges, (1987); Shiloah, (2002); Tucek, (2003b).

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1st October) Vol.VII (3) 623-647. available at http://musictherapyworld.net

An essential challenge to traditional oriental music therapy (as part of

the cultural transfer) was a scientific analysis of the receptive method in

regard of the theory of an organ and emotion specific effect of the

Makam structures.

Against the background of modern brain research findings that under-

stand the brain as a socio-cultural organ1, the theory of a transferability

of specific emotional influences through Arab or Muslim musical styles

on a European patient must be doubted.This is due not so much to any

cultural prejudices but rather to culturally influenced (sound) preferences

and images (on the part of therapist and patient).

Nevertheless, clinical practice of traditional oriental music therapy shows

clearly documented therapeutic effects.

Some remarks in this context from the perspective of cultural and social

anthropology:

Man is a universal and at the same time a culture-specific being with

regard to music perception.

• A universally human level is the location for the psycho-physiologi-cal effects of rhythms (drums, rattles, etc.) and sound spaces (har-monic overtone singing, gong, etc.)

• The level of culturally shared experience with pertinent associations may be illustrated with the following example: most people in our cul-ture associate the Christmas carol „Stille Nacht, heilige Nacht / silent night, holy night“ with a festive or joyful mood.

• Let us now imagine a family singing this song in front of the illumi-nated Christmas tree when the father breaks down with a heart attack and dies. We may assume that what this song will evoke in this partic-ular family in future will not be a festive mood but grief (level of sub-jective experience).

1. Apart fro the genetic foundation, human experience is influenced by a multitude of „epigenetic“ factors (cultural, social, individual experience context).

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On the understanding that the therapist has incorporated the oriental

musical material thoroughly in the course of his training and supervised

practice, then he might be able to transfer basic emotional moods like joy,

calm, peace etc. through a loving and joyful therapeutic relationship in

support of the music.

It is possible to establish new, and for the patient positive, sound experi-

ences in this way (via Makam scales and oriental instruments). In select-

ing the modes and pieces of music, however, we must ensure that the

chosen musical structures are not too remote from what a patient is used

to listen to.

In simple words, we must find a way between a potential „fascination“

for what is new, and a potential rejection of what is „just too strange“. If

the therapist is successful here, he will stimulate therapeutic processes in

the patient the physiological correlates of which may be measured and

illustrated chronobiologically.

A superior objective of the therapy is the intention to support patients

during therapy in recovering a harmonic interplay between external cul-

tural life style and internal subjective harmony.

In this sense,

“… music is not only what it is, it is what it means to the individ-ual, what it can do for him or her … the pursuit of music can show human beings what they have in common.” (Sir Simon Rat-tle)

Hesse demonstrated that a subjective access to various types of music in

the course of a human life is not static but changes continuously (2003,

p.7).

Introduction 626


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In addition, our subjective access to music is determined by external fac-

tors. In our clinical practice we frequently observed patients and their

families who developed a very positive attitude to musical offers of

receptive traditional oriental music therapy; but after release from hospi-

tal they did not continue. Only upon re-hospitalization did this type of

music regain significance. Therefore, a positive response to traditional

oriental music seems to be conntected to the clinical setting. A relative

said: “Now that I am back among the group, I know what I have been

missing for the last six months.” Music thus serves to recreate the mood,

not only as recreation, but as a turn to the innermost core. On this basis,

music provides a natural foundation for the recovery of the “entire self”,

even if the individual is seen as “sick” or “handicapped” in the medical

sense.

I believe an important effect of traditional oriental music therapy is that

in first contact there are no (previously) established individual associa-

tions with known musical styles, since the sound (instruments, Makam

structure) is so new and different. This leaves room for new structures

and new associations.

Music therapy in medicine / music medicine

I want to give a short description of the relationship between “music

medicine” and “music therapy in medicine”. The following table by

Krautschik (2003) sums up the most important positions which have con-

siderable influence on the respective therapeutic concepts and their

research designs.

TABLE 1. therapeutic concepts and their research designs

Music medicine Music therapy in medicine

Positivistic scientific tradition Hermeneutic scientific tradition

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From my perspective of a clinical music therapist it does not make sense

to neglect the human and social dimension which is so important for the

recovery of a patient (music therapy in medicine) in favour of an

approach with a focus on the therapeutic potential of music programmes

for the only purpose of lowering blood pressure, for example (music

medicine). Personally I do not feel comfortable with a perspective that

does not consider the traditional intention of music to move humans indi-

vidually, socially and transcendentially1.

I was deeply moved by the self-attribution of a patient with severe trau-

matic brain damage at the Center of Neurological Rehabilitation of

AUVA in Vienna; after a therapy session where he had actively partici-

pated in music-making in the common room, he told other patients he

was an “artist”. I quote Aldridge in this context:

“… health is a performance that can be achieved. Health is not simply a singular performance; it is performed with others.” (2005; p.264)

The question is which therapy approach may offer the most effective help

to which patient in which situation and stage of therapy. It would be fatal

Biomedical concept Relational-medical concept

Music has therapeutic potential by itself Emphasis on relation: therapist-client; music-client

Symptom orientation Health orientation

Starting-point: illness Starting-point: health (resources)

Music as medicine Artistic-creative activity

= desired biological effects Improved quality of life through creative expression of self

TABLE 1. therapeutic concepts and their research designs

1. It must be noted, however, that other criteria in handling the therapeutic potential or music are legitimate and valid as well.

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to replace positions of music therapists by musical programmes in future

in order to save money.

From empirical experience to scientific foundation:

The clinical variety of traditional oriental music therapy of today com-

bines both concepts in its equally “regulatory-medical” and “relational-

medical” approach. In the past, we evaluated clincial therapy processes

via empirical observations and documentation (case description, video

documentation).

In addition we intend to found this approach on physiological “hard

facts”. Early clinical studies (Murg, Tucek et al., 2002; Tucek, 2005b;

Tucek et al., 2006) represented important steps. Clinical practice, how-

ever, was full of organisational hurdles. Selected research methods often

limit the freedom of therapists to act. Consequently we continued to look

for methods that would not confine a music therapist (in the sense of a

best practice model) to a previously determined method of intervention

(active versus receptive).

Regulatory-medical concept and receptive traditional oriental music therapy

In a receptive therapy approach, precomposed pieces (comparable to the

so-called play songs in Nordoff Robbins music therapy) alternate with

rhythmically improvised passages. The effects observed were activating

and deactivating respectively (sympathicotonic versus parasympathico-

tonic).

Results of a clinical EEG study at the Meidling centre for neurological

rehabilitation on patients with severe traumatic brain damage revealed

From empirical experience to scientific foundation: 629


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that this receptive approach may have relaxing effects (reduced spasms)

and at the same time improve vigilance (Murg, Tucek et al., 2002; Tucek

et al., 2006).

Similar relaxing and anxiolytic effects were reported in a study with 64

patients at the Groß Gerungs centre for cardiological rehabilitation

(Tucek, 2005b). A recent clinical study on in-patient treatment for

depressive episodes had comparable results (Scharinger, 2006).

In summary: Traditional oriental music therapy appears to be a well-

established means with a regulatory influence on mental-physiological

processes.

We now look at the question whether in addition to regulation (activating

/ deactivating effects) it is also possible to influence organs in a more dif-

ferentiated way. The following – simplified – aspects are taken into con-

sideration:

• If the therapeutic agent is in the structure of the note scales them-selves, then this should have a direct impact on the body in the sense of a physical resonance phenomenon. (Assumption: Makam has (physiological) effects independent of cultural imprint).

• If the therapeutic agent is in the mental influence via the associative channel, then music would be connected with previous cultural and individual experience in its predictable effects. (Assumption: All peo-ple – even all individuals – have “their own” music)

• If the therapeutic agent is in the musical relationship, then music would be a human-relational resonance phenomenon. (Assumption: music functions as a significant field of experience and activity)

Current research approach

The dimension of relational and regulatory medicine will now be illus-

trated with two examples of measurement and on the basis of different

chronobiological methods of data collection:

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• Example 1 shows the change in the regulation state in a patient with

acute myelotic leukemia (AML)1 through music therapy.

• Example 2 illustrates the relational dimension between therapist and

patient with acute lymphatic leukemia (ALL)2 in the course of a ther-apy unit with individual synchronous stages. (compare Tucek et al., 2006)

EXAMPLE 1 A portable ECG apparatus with a scanner frequency of 4096 Hz, i.e.

many times higher than traditional long-term ECG appliances, measures

heart rhythms. The resulting so-called “spectrogram” reflects the rhythms

of numerous endogenous systems (respiration, peristalsis, hormonal

secretion etc.). The differences in the sequence of heart beats show the

respective dominance of one of the two branches of the autonomic ner-

vous system on the pacemaker nodes of the heart. (The sympaticus acts

as an accelerating part of the autonomous nervous system (ANS) and

generates fight, flight, performance etc.)

The parasympathicus in contrast supports regeneration and recovery.

This is why the parasympathically controlled part of the heart rate vari-

ability (HRV) is an indication of the ability to recover, which is an essen-

tial precondition for health.

The following health parameters may be deduced from HRV measure-

ments:

1. AML is a malignant cancer of myeloblasts. These are the immature preforms of var-ious granulocytes. The immature granulocytes are nonfunctional and divide in uncontrolled fashion. Then they suppress the healthy blood cells from blood and bone mark and often infiltrate spleen, liver and brain. AML is the most frequent form of leukemia in adults. (Reference: www.ArztScout.com, per July 13, 2006)

2. ALL develops like this: Lymphocytes (subtype of white blood cells) that are respon-sible for immune processes degenerate. Degenerated lymphatic cells collect in the bone mark, destroy growing blood cells and replace them. (Reference: www.ArztScout.com, per July 13, 2006)


http://www.ArztScout.com





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• General condition, vitality, “biological age”: the product of constitu-tion and lifestyle. (Even with best genetic preconditions, “wasting ill-nesses” or unhealthy lifestyle may use up resources.)

• Regulatory capacity: adaptation and interaction between resonant fre-quency (day – night, rest – activity) and external influences (appoint-ments, others, sports etc.)

• Physical resilience: lower pulse in sleep, heart rate under and after stress, range and intensity of frequency analysis of heart rate sequence reflect the potential in this area.

• Mental resilience: detection at 0.1 Hz. in combination with pulse-res-piratory quotient, heart rate and variability in the respiration-modu-lated high frequency range are indicators of mental resilience.

• Ability to recover: Recovery is the basis for resilience. Sympathicus reduction and simultaneous increase in high frequency parts of heart rate variability, decrease of pulse and respiration frequency are objec-tive units of measurement.

• Quality of sleep: qualitative and quantitative aspects of calm and deep sleep phases are evaluated. Extent of vagus activity.

The coordination of respiratory frequency and heart rate sequence pro-

duces a restructuring of psycho-physiological processes in the sense of an

“economization” of the entire system that is reflected in the “spectro-

gram”.

This comprises the following frequency ranges (Figure 1 on page 633):

• Very Low Frequency (VLF), a range between 25 sec. and 5 min. with a frequency of 0.04 – 0.0033 Hz., dependent on body position, physical activity and thermoregulation.

• Low Frequency (LF), a range between 7 to 25 seconds and a frequency of 0.04 and 0.15 Hz. It is parasympathically and sympathically con-trolled and corresponds to the blood pressure rhythms.

• High Frequency (HF) as presented in the figure moves between 2,5 and 7 seconds in a range of 0.15 to 0.4 Hz. It is parasympathically controlled and modulated via respiration.



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FIGURE 1. frequency ranges

Another important term in regulation diagnostics is “respiratory sinus

arrythmia” (RSA): the coordination of heart and respiratory frequencies,

ideally at a ratio of 4:1 (e.g. 60 heart beats with 15 times breathing per

minute). In the spectrogram, RSA becomes visible in horizontal lines in a

range between 0.2 and 0.4 Hz, mainly in restful sleep. Additional litera-

ture: Hildebrandt et al., (1998); Moser et al., (1994); Moser et al., (1999);

Moser, in Tucek (eds.), (2005b).

Clinical applications of traditional oriental music therapy – examples

CONTROL MEASUREMENT IN A HEALTHY TEST SUBJECT DURING RECEPTIVE MUSIC THERAPY

Figure 2 on page 634 shows the spectrogram of a healthy test subject in

the course of a receptive encounter group session as part of the study

course in traditional oriental music therapy. The purpose was to stimulate

regenerative regulatory mechanisms for a balance of sympathicus and

Clinical applications of traditional oriental music therapy – examples 633

Tucek, G. (2006) Traditional oriental music therapy – a regulatory and relational approach. Music Therapy Today (Online1st October) Vol.VII (3) 623-647. available at http://musictherapyworld.net

parasympathicus activity. The test person was lying on a mat while the

training therapist was turned to her and made music on an Arabian/Turk-

ish lute.

FIGURE 2. Spectrogram of a healthy test subject

Explanation and interpretation of the figure. We recognize a distinct

reduction in sympathicus activity (no blue shades visible in the low fre-

quency range), and above all the phenomenon of a six-peak HRV as an

indication of high-level coordination of breathing and heart beat in the

sense of an excellent regulatory ability. The occurrence of such a reso-

nance phenomenon may be seen in the specifically harmonic dynamics of

breathing excursions. Deep breaths in „musical“ frequency lead to rhyth-

mic shifts in the rest membrane potential of the cardial conductive sys-

tem. In combination with the also breath-induced high frequency and

large variability of the heartbeat, this phenomenon produces spectral pat-

terns as shown in Figure 2 on page 634. In other words: Just like the

„heart dancing on the diaphragm“, the ECG observed simultaneously

seems to be „dancing“. A rhythmic phenomenon of biosignal processing

Clinical applications of traditional oriental music therapy – examples 634


which we also know from the analysis of heartrate variability in song and

speech therapists (compare Moser 1999), and which here also correlates

with subjective perceptions like general well-being, clarity, regeneration

etc.

The occurrence of such resonance phenomena without „indication of

breath“ via (speech) melody, rhythm, metre etc., exclusively as part of a

merely passively perceived melody, must - we assume - be based on the

interaction with the playing music therapist. The occurrence in a merely

passively received melody is unusual and not to be expected according to

previous experience with perception from audio equipment. The reason

of this resonance effect is not quite clear. We assume that the phenome-

non is due to two components, the trusting relationship (the training ther-

apist and the student knew each other) and the music (as an agent

conveying calm and relaxation)1.

An example of measurement of a healthy test subject in a traditional “healing dance” (Bakse)

The following Figure 3 on page 636 and Figure 4 on page 636 show the

spectrograms of the same test person during a traditional “Bakse” dance

used for activation (for details see Tucek 2003b).

1. Further research projects addressing this question are in preparation.

An example of measurement of a healthy test subject in a traditional “healing dance”


FIGURE 3. Begin of dance

FIGURE 4. Middle part of the dance



FIGURE 5. End of dance

EXPLANATION AND INTERPRETATION OF FIGURES ON ACTIVATING DANCE:

The entire variability (performance) at the beginning (Figure 3 on

page 636) at 12:45 p.m. has reached 1.500 msec2, at the end (Figure 5 on

page 637) at 1.10 p.m. it is 2.300 msec2.

Simultaneously, a distinct respiratory sinus arrhythmia is visible at the

beginning (Figure 3 on page 636), but no longer in the end (Figure 4 on

page 636); on the contrary, the spectrum appears denser here, with a har-

monious course ascending from the low frequency range. Another obvi-

ous fact is the trough-like harmonious course of HRV, congruent with the

process of activation and the progressing dance.

In the middle part of the dance (Figure 4 on page 636) there is an unusu-

ally high HRV of more than 15.000 msec2, with a heart rate of 130 beats

per minute, a phenomenon all the more remarkable since usually HRV

decreases with increasing heart frequency, which is due to mathematical

and physiological factors exclusively.



In simple words, this means that we have an initial state of tiredness, then

a doubling of performance (pulse increase from 66 to 125 beats per

minute) within 17 minutes and a tenfold increase of the performance

potential (from 1500 to 15.000 msec2). Normally we would have

expected to seee a decrease in performance potential with increasing

heart frequency, whereas in this case we saw a potentiation of perfor-

mance potential.

What appears remarkable in Figure 5 on page 637 is that the performance

potential was clearly higher at the end of the dance compared to the start,

and was harmonically spread over a wide frequency range; this suggests

an auto regulation in the course of the dance in the sense of intensified

economization and activation.

MEASUREMENT OF A RECEPTIVE MUSIC THERAPY SESSION

Figure 6 on page 639 and Figure 7 on page 639 show an exemplary mea-

surement of a 21-year-old male patient1 (Mr. P.) with myelogenous leu-

kemia in the course of a receptive therapy session. The patient was

recumbent on a hospital bed, while the therapist was turned to him and

played an Arabian/Turkish lute and a harpsichord. At the time of mea-

surement, Mr. P. received a block of chemotherapy. Prior to measure-

ments he complained of weakness, fatigue, diffuse pain and

indisposition.

1. At the pediatric oncology station of the children and women’s hospital in Linz (Aus-tria).



FIGURE 6. Measurement of a receptive therapy session 1

FIGURE 7. Measurement of a receptive therapy session 2

Explanation and interpretation of figures. The basis is a medium level

of activation with simultaneously recognizable signs of fatigue (RSA)

(Figure 6 on page 639), which disappear completely after 15 minutes.

Towards the end of the session (Figure 7 on page 639) we see a fourfold

increase in the heart rate variability (from 100 to 400 msec2) with signs



of physical activation (blue colouring in the low frequency spectral

range). The patient’s heart rate fell from a mean value of 82 to 58 beats

per minute in the course of the session. This indicates that the reduced

general state described by the patient prior to therapy, i.e. sensations of

weakness, sickness and diffuse pain, was transformed to a vegetative sta-

bilization with reduced pain (heart rate reduction), increased vitality

(HRV increase to the fourfold amount) and disappearance of sickness

(patient’s spontaneous remark after session). This interpretation was also

confirmed in the interview on the patient’s subjective state of health after

the session.

EXAMPLE 2: A SMARD watch – another system of non-invasive measurement and

analysis for regulatory diagnostics - involves measurements of the

parameters heart frequency and pulse frequency (HF and PF), muscular

activity (EMG), skin potential1 (HP), skin resistance2 (HW), skin tem-

perature (HT) and convection temperature3 (KT)4.

Figure 8 on page 641 shows the dynamic functions of measurements in

patient A suffering from ALL (above) and therapist (below) in the course

of the session at the above-mentioned pediatric oncology unit. For sim-

plification, average measurements were taken across all three physiologi-

cal parameters, skin resistance (vegetative-emotional processes), skin

potential (nervous-cognitive processes) and electromyogram (muscular

processes).

1. Bures, (1960).

2. Boucsein, (1988).

3. ISF, (2000).

4. References: Balzer, & Hecht, (2000); Boucsein, (1988); Bures, & Petràò, et al. (1960); Ferstl, (2005); Fritz, (2005)



FIGURE 8. SMARD watch measurement in pediatric oncology

EXPLANATION AND INTERPRETATION OF THE FIGURE:

The general similarity of the curves in this figure suggests a high degree

of synchronisation between therapist and patient A. The shape of the

curve may be interpreted as indication that the therapist succeeded in

reaching the patient immediately and “carrying her along” in this music

therapy session. This underlines the basic significance of the relatory

component and also the fact that it is possible to measure and illustrate

this component in music therapy.

The therapist’s condition and sensibility and the resulting ability to empa-

thize with a patient’s condition (perception and musical implementation

of needs) are therefore decisive factors if a music therapy session is to be

successful.



Summary & outlook:

Experienced music therapy researchers know the difficulties of clinical

practice with regard to replicability and standardization (compare: Tucek,

in Aldridge (ed.), (2005); Scharinger, (2006). But on the other hand there

is a legitimate demand for “hard facts” to verify therapy efficiency. A

general discussion of this subject is beyond the scope of this presentation,

but I would like to underline the two essential advantages of the

approaches described here:

• Both measurement methods allow a music therapist flexibility in his interventions with individual patients without rendering the measuring procedure worthless.

• Both measurement methods produce physiological “hard facts”, e.g. heart and pulse frequency (HF and PF), muscular activity (EMG), skin potential (HP), heart rate variability (HRV) etc.

The measuring methods described here are an additional tool for thera-

pists to reflect patients’ feedback and their own perceptions and observa-

tions of a given situation on the basis of objective measurements. These

approaches open up new possibilities and perspectives for evaluation of

processes in music therapy.

A large number of measured data collected so far confirm the trend found

in the examples presented here. We have now started to study long-term

therapy effects of traditional oriental music therapy by research into

patients’ quality of sleep1.

1. In short: we assume a relation between the quality of an individual’s sleep and his or her regenerative abilities.

Summary & outlook: 642


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Lewis (ed.) Orbis Verlag München.

Tucek, G. (2003a). Altorientalische Musiktherapie im Spannungsfeld

zwischen interkulturellem Dialog und transkultureller Anwendung.

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stransfer. Dissertation zur Erlangung des Doktorgrades der Philoso-

phie an der Fakultät für Human- und Sozialwissenschaften der

Universität Wien.

Tucek, G. (2003b). Altorientalische Musiktherapie im interkulturellen

Dialog - Kulturimmanente und kulturtranszendente Aspekte im

Menschenbild In: Helga Egner (ed.) Heilung und Heil. Begegnung -

Verantwortung - Interkultureller Dialog. (p.120-148) Patmos Ver-

lagshaus Düsseldorf & Zürich, .

Tucek, G. (2005a). "Traditional Oriental Music Therapy" in neurological

rehabilitation. In: Aldridge, David (ed.) Music Therapy and Neuro-

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logical Rehabilitation Performing Health. (p.211-230). London:

Jessica Kingsley Publishers.

Tucek, G. (ed.) (2005b) Musik und Medizin - Beiträge zur Musik- und

Therapieforschung 1995 -2004 (DVD-ROM). Wien: GAMED.

ISBN 3-200-00155-0 .

Tucek, G. et al. 2006: The revival of Traditional Oriental Music Therapy

discussed by cross cultural reflections and a pilot scheme of a quan-

titative EEG-analysis for patients in Minimally Responsive State,

in: Music Therapy Today (Online) Vol.VII (1), (March) 39-64.

available at http://musictherapyworld.net.

INTERNET: www. ArztScout.com (13.7.06).

References 646


Author’s details:

FIGURE 9. Gerhard Tucek

Music therapist, specific interests: neurological and cardiological reha-

bilitation, pediatric oncology, work with handicapped persons; clinical

therapy research; practice research. University education: studies of

applied cultural sciences (Mag.phil.) and ethnology (Dr.phil.); university

Author’s details: 647


training course in practice research; studies of traditional oriental music

therapy with Dr. Oruc Güvenc

1989 – 2000 establishing the „School for traditional oriental music ther-

apy“ in cooperation with Dr. Oruc Güvenc. Since 1997 Director of the

course in traditional oriental music therapy. Since 2004 Lecturer at the

University for Music and Performing Art, Vienna, since 2005 at the Insti-

tute for Culture & Social Anthropology of Vienna University. Since

2002: Director of the seminar and lecture series „Mensch – Kunst –

Medizin“ (in cooperation with GAMED and Karajan Centrum Vienna).

2004: Founding member and Director of IMARAA (international music

and art research association austria)

ADDRESS: Institute For Ethno-Music-Therapy, Niederneustift 66, A-3924 Schloss

Rosenau (Head of the Institute: Mag. Dr. Gerhard Tucek)

Tel:0043 / 2822 / 51248 Fax +18

e- mail: info(at)ethnomusik.com

THIS ARTICLE CAN BE CITED AS:

Tucek, G. (2006) Traditional oriental music therapy – a regulatory andrelational approach. Music Therapy Today (Online 1st October) Vol.VII(3) 623-647. available at http://musictherapyworld.net

Author’s details: 648

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Traditional oriental music therapy - a regulatory and relational approach

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