Chapter 3 – Music
Historically, Western classical music was viewed as sophisticated in comparison to other musical traditions. As recognition began to grow for the therapeutic qualities of music, the medical community inherited a conservatoire view of music. This appraisal excluded many other forms of music including popular music, thereby underestimating its capacity to be used in a therapeutic setting (Koen, 2008).
Groove
Groove, often associated with popular music, is a repeated rhythmic figure that forms a musical foundation and is associated with many musical styles such as rock, jazz, and funk. A significant feature of groove is the way the repetition evolves, repeating over and over with barely perceivable irregularities (Aigen, 2002; Keil & Feld, 1994). As Keil and Feld (1994) put it, groove possesses a “duality” (p.22) which is both “new and…familiar” (p.23). Aigen (2002) picks up on this, proposing that the “variation within the repetition” (p.70) is as important as the repetition itself, and it is the “subtleties …and the discrepancies” (p.71) that invite humanity to the musical communication.
In discussing Keil and Feld (1994), Aigen (2002) encapsulates this notion: “the discrepancies in music are the key to creating participation” (p.97). Stensaeth (2017) observed participatory discrepancies can take on a different role in music therapy, for example “musicalization” (p. 32) where the therapist contextualises the client’s movements or facial expressions with the improvisation.
Vamp
Similar to the marching band term of marking time, the groove can keep looping around until everyone is ready. This is called vamping.
Vamping is a way to maintains the musical setting, a logical way within the musical context to wait without having to stop. Allows participants time to prepare and make their entry without pressure to hurry up. (Keil & Feld, 1994).
