Contents:

1) Liana Haratsi: The role of the teacher and the organizing of the lessons in the first stages of piano teaching.

2) Despoina Klonari: About Psychology of Music.

3) Hao Huang: Music Appreciation Class: Broadening Perspectives.

4) Polyvios Androutsos, Nikos Theodoridis: Music Listening and Creativity.

5) Roland Persson: Brilliant performers as teachers: a case study of commonsense teaching in a conservatoire setting.

Abstracts:

1) Liana Haratsi
The role of the teacher and the organizing of the lessons in the first stages of piano teaching.

The role of the teacher and the organizing of the lessons in the first stages of piano teaching
In this article, the author clarifies that the role of the piano teacher is not only to teach the student how to find the way to read and perform a musical text. It is mostly an initiation in the world of music and offering the student procedure knowledge. With the above as a basic reference, ideas of how to organize piano lessons in the beginning stages of teaching are presented.

2) Despoina Klonari
About Psycology of Music

Psychology of Music is a contemporary science. The aim of this article is to show its general principles and basic subjects of research. Music Perception studies the cognitive functions and principles of Gestalt Theory in their relation to the four parameters of musical sounds which are pitch, loudness, timbre and rhythm. Cognitive Psychology of music studies the structure of music, cognitive functions and the process of learning of music. Furthermore, the article reports the conclusions of A. Zenatti about the aspects of musical development and the influence that the cultural environment has on children.

3) Hao Huang
Music Appreciation Class: Broadening Perspectives*

Multicultural music can be introduced into the standard music appreciation course in several ways that are concise and relevant.
* Translated and reprinted by permission of MENC (58/29-10-1997).

4) Polyvios Androutsos, Nikos Theodoridis
Music Listening and Creativity*

The main goal of the article is to show the importance of music listening and especially active listening. The particular goals, the categories of activities/games that help the long term practice of the students, and the usual steps that are followed in the procedure of listening to a work of music -having as a further goal the creative expression of the students- are examined. Creative music listening as a procedure demands affective response and cognitive acts. A variety of activities are proposed (mapping, verbal descriptions, kinaesthetic means, performing etc.) that are useful in this approach. Relevant material is suggested, as well as the criteria by which it is chosen, and also ways of how to organize the listening activities. Sergei Prokovief's Peter and the Wolf has been selected as an example of how a work of music can inspire children in many different ways, and how it can lead to creative expression such as how to build a music theatre performance based on the original story. A presentation of the group Percussion Workshop Kroustofono and the arrangement of Peter and the Wolf for children, enriched with music and movement games, are added in the end. 
* The following article is based on a lecture that was presented at Thessaloniki 15/12/1997. The text has been slightly changed to suit the article format.

5) Roland Persson
Brilliant performers as teachers: a case study of commonsense teaching in a conservatoire setting*

This article reports an exploratory study into applied music teaching at a tertiary level. The study was staged as a case study where the case comprises one performance teacher of piano and nine students. The focus of the study is how a performance teacher with no formal training fares in the training of musical performers, how students respond, and what the particular successful or unsuccessful issues are in what could feasibly be termed "commonsense teaching". The data were gathered through participant observation, informal interviews and questionnaires. The findings suggest, after content analysis. The article concludes by tentatively proposing some instructional considerations for applied music teaching, as drawn from the case study. 
* From the International Journal of Music Education, 28, Fall 1996, p.p. 25-36. Translated and reprinted by permission of ISME.

Abstracts of the 1st Conference

Contents:

1) Despina Bogdani - Souyioul: Interweaving Kinaesthetic Approach - Connecting music with other arts and with the other courses of the general curriculum.

2) Erifili Damianou - Marini: Dissonant and Consonant Intervals.

3) Ioanna Etmektsoglou: The effects of noise on the physical and mental health of people.

4) Yiannis Kourtis: Teaching Music in Junior High School and its association with the rest of the classes of the daily schedule. 

Abstracts:

1) Despina Bogdani - Souyioul
Interweaving Kinaesthetic Approach- Connecting music with other arts and with the other courses of the general curriculum

The research into the interdisciplinary approach of education has led the educational system into developing new approaches to teaching. The "Interweaving Kinaesthetic Approach" consists of a new method of interdisciplinary approach in the frame of which music is connected with other forms of art like movement, theatre, fine art etc. The target is the strengthening of the contribution of both teacher and the music educator in the emotional, intellectual and physical development of the child, resulting in developing the child into a complete and creative personality.

2) Erifili Damianou - Marini
Dissonant and Consonant Intervals

Intervals can be classified differently depending on various points of view. The most important classification, however, is that which divides them according to consonances and dissonances. There are strict rules about resolving the dissonant intervals from which tables are derived. Poor students memorize and use them without knowing why dissonances have to be resolved this way. This article refers to the role that dissonant intervals play in major and harmonic minor scales and the role of the leading note in resolving dissonances into consonances. This creates a solid background and solves the problems of short-term memorization of tables.

3) Ioanna Etmektsoglou
The effects of noise on the physical and mental health of people

Sound pollution is a serious problem in contemporary societies which are overcrowded and increasingly invaded by motors. The purpose of this article is a) to explore definitions of noise and sound pollution, placing an emphasis on the importance of the human listener as judge, and b) to review research findings concerning the effects of noise on the physical and mental health of people. In examining the effects of noise on the human being, the author first describes how noise can affect the ear, causing temporary or permanent hearing loss. She then discusses its effects on the general physical health, stressing the importance of listener variables such as expectation of the undesired sound and ability to control it. The indirect effects of noise on mental health are finally addressed, pointing to its ability to change the mood and increase existing psychological problems of the listener. The consequences of noise’s interference with speech, work and sleep, as well as sensitivity differences based on gender and level of education are also presented. In conclusion, the readers are urged for immediate action against the rapid and indiscriminate over saturation of our environment with noise, which constitutes an important threat for the physical and mental health of human beings.

4) Yiannis Kourtis
Teaching Music in Junior High School and its association with the rest of the classes of the daily schedule

I suggest, as a member of the seven-member Greek Society for Music Education committee for Junior High School, after extensive research and after partial materialization, the way to link between music and the rest of the classes. Depending on the subject being taught, either under the physical sciences or the theoretical sciences, we introduce music that relates to the subject being taught during the session itself, as a goal to extend the music session. For example in the subject of Ancient Greek Language (original and translated) students can listen to or sing along "stasimo" from Tragedies. Even great composers such as Beethoven were inspired by such Ancient Greek Tragedies as "Prometheus Desmotis". Another example is Gluck's "Ifigenia en Tavris". Both of these great composers wrote works of art, based on Greek Tragedies. These specific Tragedies are incorporated in the students' class material. Another example is in Mathematics, the Pythagorean "Comma", and different mathematical models like the Fibonacci sequence (High School material) have been used as a base to compose works from the 20th Century. In the same way music can be used in all subjects being taught. As conclusion music literacy relative to the material being taught, which will be easily accessible by teachers and students, must be created in every school because it consists of an additional educational tool.

Contents:

1) Albert LeBlanc, Young Chang Jin, Charles S. Simpson, Lelouda Stamou, Jan McCrary: Pictorial versus Verbal Rating Scales in Music Preference Measurement.

2) Efi Makropoulou: Performance Anxiety and Pianists.

3) Jana Fallin & David Royse: Common Problems of the New Music Teacher.

4) Liana Haratsi: Piano Methods.

5) Erifili Damianou - Marini: Dissonant and Consonant Intervals.

Abstracts: 

1) Albert LeBlanc, Young Chang Jin, Charles S. Simpson, Lelouda Stamou, Jan McCrary
Pictorial versus Verbal Rating Scales in Music Preference Measurement*

The purpose of this study was to compare pictorial and verbal rating scales as measures of music preference opinions. Preference opinion is defined as a reaction to a stimulus while in its presence. Two hundred thirty eight (238) students from Grades 3, 4, 5 and 6 from four schools in the states of Michigan and Ohio in USA took the same listening test four times, with a 2-week interval between each testing: twice with a verbal scale answer booklet and twice with a pictorial scale answer booklet. The same test form was never administered twice in succession. The order of response scale administration was counterbalanced among the classrooms involved. 
The results of the study indicated no significant difference between preference scores generated by participants using either form of response scale. Test-retest reliabilities ranged from 0.65 to 0.88 using a 4-week interval, with higher grade levels associated with higher reliabilities and the pictorial scale generally associated with higher reliabilities. Internal consistency reliabilities measured by coefficient alpha ranged from 0.90 to 0.93 for verbal scale and 0.92 to 0.93 for pictorial scale. A large and statistically significant majority of participants (84%) expressed a preference for using the pictorial scale to record their music listening preference. 
Many participants went far beyond our instructions to just draw a nose no the face that best expressed their opinion of the music and made creative and interesting drawings on the faces. Of the four grade levels that participated in the study, Grade 6 showed the highest preference for the pictorial scale. Students tended to like the pictorial scale because it provided something interesting to do (draw on the face) while listening. The results of this study generated several thoughts on the possible advantages and disadvantages of the use of the pictorial scale compared to the verbal rating scale in music preference measurement.
* From Journal of Research in Music Education, Fall 1998. Copyright © 1998 by MENC. Translated and reprinted with permission.

2) Efi Makropoulou
Performance Anxiety and Pianists

This article is concerned with the multi-faceted physiological and psychological phenomenon known as performance anxiety or more commonly as "stage fright". Musicians of all ages, both genders, novice and seasoned veterans, seem to suffer to some extent from the tensions of performance. Memory slips, dropping of the bow, sweating, are some of the negative effects of performance anxiety. Both the sources as well as the copying strategies to reduce anxiety depend to a large extent on the individual's personality. Nevertheless, there are some techniques, apart from tranquillisers, that can reduce the physiological aspect of performance anxiety, amongst them being the Alexander technique, techniques of progressive relaxation, biofeedback, having positive thoughts about one's performance and techniques of breath control. However, we should bear in mind that only a solid preparation that is based on the development of a) the inner hearing, b) proper memorization techniques and c) a good co-ordination can permanently treat the negative effects of performance anxiety.

3) Jana Fallin & David Royse
Common Problems of the New Music Teacher*

Beginning music teachers often face problems such as maintaining classroom control and keeping students focused on the day’s lesson. Jana Fallin and David Royse offer ways to stop these problems before they start. 
* From the Journal of Music Teacher Education, 4 (1), Fall 1994, p.p. 13-18. Copyright © 1994 by MENC. Reprinted with permission.

4) Liana Haratsi
Piano Methods

Nowadays, by the terms "Piano Method" we mean the books presenting in a systematic and logical way organised to teach music to a beginner. In a method, the aim is to give the learner all the necessary information to help him/her understand the pieces of music and express them musically on the piano. Choosing the suitable method for a particular student is a combination of many factors. Depending on its content, the teacher examines whether the method is full and whether it meets his/her aims as well as the needs of the learner. Moreover, the age and the aims of the beginner play a major role while choosing the method. A short list of method on the Greek market is also to be found in the article. Finally, the reader will also find representative examples of each kind of method.

5) Erifili Damianou- Marini
Dissonant and Consonant Intervals

Intervals can be classified differently depending on various points of view. The most important classification, however, is that which divides them according to consonances and dissonances. There are strict rules about resolving the dissonant intervals from which tables are derived. Poor students memorize and use them without knowing why dissonances have to be resolved this way. This article refers to the role that dissonant intervals play in major and harmonic minor scales and the role of the leading note in resolving dissonances into consonances. This creates a solid background and solves the problems of short-term memorization of tables.

Contents:

1) Maria Samara: Music Therapy and Autism. The way out of silence.

2) Liana Haratsi: The Importance of the Repertoire for Three, Four and Six Hands for Piano Education.

3) Ioanna E. Etmektsoglou: Teaching Music in Secondary - High School with an emphasis to unattended educational and therapeutic objectives. 

4) Sofia Giakoumidou: Piano Methods; Chester Method by Carol Barrat.

Abstracts:

1) Maria Samara
Music Therapy and Autism. The way out of silence

Autistic children and adults have fascinated and frustrated at the same time professionals from all disciplines, as well as parents, for the last half century. Theories about the cause, aetiology and treatment of people with autistic disorders range from highly structured behavioural management, to the freedom of allowing and containing the symptoms without trying to change. Where does music therapy play o role? Does music really provide an alternative language for people whom social and language impairments make conventional methods of communication irrelevant? Does music making in music therapy really provide the way out of silence?

2) Liana Haratsi
The Importance of the Repertoire for Three, Four and Six Hands for Piano Education

Until today the repertoire for four hands in piano education is mainly faced as an art of an amusing activity, usually in order to complete and vary student performances. Two pianists at one or two pianos or, something even more impressive, three pianists at one piano is a show which easily fills the audience with enthusiasm. Nevertheless, this repertoire is an ideal teaching companion, not only for the education of the students in chamber music in general but also for the development of their solistic ability. Through the listening of polyphonic structures and the control over the dynamic balance of the voices as required in the two-hand performance, the student learns to listen and to have a better control over his solistic playing. He also develops his ability to adapt, which leads to greater technical dexterity. The repertoire for 4 hands could be an integral part of the curriculum of all classes and levels.

3) Ioanna E. Etmektsoglou
Teaching Music in Secondary - High School with an emphasis to unattended educational and therapeutic objective

Based on the special characteristics of adolescence, the author proposes a music education program for Junior-high and High school, which places priority on the emotional development and socialization of the students, through a) musical improvisation, b) song creation and c) musical psychodrama. In the article, the above musical approaches are presented, accompanied by examples for their practical application in class. The student relationships and the music teacher’s attitudes in the proposal open type music classes are examined. In closing, the discussion focuses on the transfer of knowledge and attitudes originating in the music classes, to cases beyond the school setting and to the adult life. 

4) Sofia Giakoumidou
Piano Methods; Chester Method by Carol Barrat

A presentation of this piano method by Sofia Giakoumidou, piano teacher and soloist.

Contents:

1) Dimitra Koniari: Music, Brain and Music Education.

2) Lelouda Stamou: Qualitative Research in Music Education. 

3)Georgia Markea: The Piano Teacher and the Making of the Talented.

4) Johanella Tafuri: Learning together through research method.

5) Nancy Toubakari: Connecting music teaching with plastic arts teaching (From the conjectural work to the composition of music). 

6) Lelouda Stamou: An approach for leading secondary education students to the understanding of a musical work. 

7) Eva Pavlidou: Soap-Bubbles and Fairies.

Abstracts:

1)Dimitra Koniari
Music, Brain and Music Education

Studies on the neuronal bases of music listening and processing have been recently improved with the use of neural imaging methods such as PET, fMRI, MEG and EEG. Results from these studies show that brain activation patterns during music listening and processing are different in musicians compared to non-musicians. Music education leads to an increased activity of the brain over the regions of the left and right hemisphere and influences the functional organisation of the human auditory cortex. This paper a) reviews briefly theoretical and experimental issues on the brain specialisation and functional organization for the cognitive operations related with music listening and processing and b) speculates on the importance of music education for the development of interhemispheric brain networks, which could enhance and balance the function and contribution of both hemispheres in daily life cognitive and perceptual-motor skills.

2)Lelouda Stamou
Qualitative Research in Music Education

The educational research community in Europe and the USA had, for decades, aligned wit the ideals of natural sciences. In the last few years, however, researchers realize that the effort to quantify the educational reality in order to study it has its own problems and disadvantages. Researchers from the international research community are becoming increasingly interested in the theory and practices of qualitative research. This paper aims at presenting the basic qualitative approaches in music education, and discussing issues of reliability, validity and generalizability related to them. Ethnographic, historical, phenomenological, naturalistic and action research are presented along with typical examples of such studies, aiming at a better understanding of the basic types of qualitative research in the field of music education.

3)Georgia Markea
The Piano Teacher and the Making of the Talented

This paper is a review of the literature on selected issues that usually arise in the area of piano teaching and learning. In the opening paragraphs, the author optimistically states that success in the piano is not only for those who are regarded as “gifted” or “talented”. It is argued that many studies have shown that piano teachers can do a lot of difference. A number of areas of special interest are reviewed. These areas include (a) the characteristics of a “good” piano teacher, (b) the student-teacher relationship, (c) students’ individual differences in piano learning, (d) the effort for the development of the necessary musical skills and (e) the issue of pianist’s autonomy. The paper is useful for piano teachers, those who work in the area of piano pedagogy and also for non-musicians like educators and psychologists.

4)Johanella Tafuri
Learning together through research method*

Learning is one of the most studied subjects and among several definitions, one of the most widely accepted is “…acquired and relatively stable modifications of behaviour”. We would like to widen this perspective considering educational situations in which the interaction occurs between several behaviours. Teachers can use different methods according to their own point of view about the essence of teaching/learning process: if they are convinced of the importance of promoting co-operation, solidarity and mutual help between individuals, research, particularly group research, can be one of the most suitable methods. Communicating a research spirit lets everyone participate critically in the production of knowledge and allows the acquisition of research instruments. This will be useful in future both for individuals and for a more humane community. 
* This article was originally published in the International Journal of Music Education, 1999, Νο. 33, 88-93 published by the International Society for Music Education (ISME). Translated and reprinted by permission of ISME. Copyright of this article is vested in ISME.

5)Nancy Toubakari
Connecting music teaching with plastic arts teaching (From the conjectural work to the composition of music)

Description of an educational application for the 2nd grade children.

6)Lelouda Stamou
An approach for leading secondary education students to the understanding of a musical work

This paper deals with a methodology with which teachers of secondary music education can approach a musical work and lead their students to a basic understanding of it. After defining understanding of a musical work, the author states basic principles that should govern the teaching methodology employed to serve it and the factors according to which this methodology may need to be adjusted. The paper includes three teaching examples based on listening, that show the way a teacher can lead students to an understanding of a musical work. Each example assumes a different level f previous musical experiences and knowledge; the first one (Ballet of Chickens in Their Shells – M. Mussorgsky) assumes that students have had very limited musical experiences and knowledge, the second one (Annitra’s Dance – E. Grieg) that students have acquired an understanding of basic musical concepts, and the third one (Dance Macabre – C. Saint Saens) that students have had broader musical experiences and are able to read a musical score. The paper aims at offerings a practical guide for approaching a musical work with secondary music students.

7)Eva Pavlidou
Soap-Bubbles and Fairies

This activity describes how the teacher could use a musical theme and give to the children the possibility to create dramatic improvisation and dance. A “magic” story and the body movements are a way to help the children to feel the music, to communicate between them and to develop artistic expression.

Περιεχόμενα:

1) Ιωάννα Ετμεκτσόγλου, Γεωργία Ζερβού, Λουκία Δροσοπούλου, Χριστίνα Καλλιώδη, Χρήστος Μαϊφόσιης: Η ανάδειξη και κατανόηση της πολιτισμικής διαφορετικότητας εθνικών μειονοτήτων. Μια εθνομουσικολογική προσέγγιση στη δευτεροβάθμια εκπαίδευση. (σ.σ. 5-17)

2) Θωμάς Μαρόπουλος: Οι κύκλοι τραγουδιών του Schubert. Μια μουσικοπαιδαγωγική εφαρμογή. (σ.σ. 18-21)

3) ΗΜΕΡΙΔΑ ΜΟΥΣΙΚΟΘΕΡΑΠΕΙΑΣ: Η θεραπευτική ιδιότητα της Μουσικής Τόνυ Ευαγγελόπουλου: Η χρήση της νέας τεχνολογίας για την βελτίωση της βαρηκοϊας εκ του θορύβου. (σ.σ. 23-30)

4) Λευκοθέα Καρτασίδου: Θεραπευτική Παιδαγωγική Μουσικοθεραπεία ( H. Goll 1993). Βασικές αρχές μιας ολιστικής και διαλογικής θεώρησης και πρακτικής εφαρμογής της μουσικοθεραπείας σε παιδιά και νέους με βαριά νοητική στέρηση. (σ.σ. 31-42) 

5) Μαγδαληνή Καραγιάννη: Ομάδα Θεραπείας με χρήση μουσικής - τραγουδιών σε ξενώνα χρόνιων ψυχιατρικών ασθενών (Το τραγούδι συναντά τη σιωπή). (σ.σ. 43-51)

6) Πέτρος Θεοδώρου: Ήχος και Σκηνικές τέχνες: Μια αγωγή με θεραπευτικές προεκτάσεις. (σ.σ. 52-60)

Περιλήψεις:

1) Ιωάννα Ετμεκτσόγλου, Γεωργία Ζερβού, Λουκία Δροσοπούλου, Χριστίνα Καλλιώδη, Χρήστος Μαϊφόσιης
Η ανάδειξη και κατανόηση της πολιτισμικής διαφορετικότητας εθνικών μειονοτήτων. Μια εθνομουσικολογική προσέγγιση στη δευτεροβάθμια εκπαίδευση

Το άρθρο αυτό παρουσιάστηκε σε συζήτηση στρογγυλής τραπέζης στη διάρκεια του 2ου Πανελληνίου Συνεδρίου της Ε.Ε.Μ.Ε. τον Ιούνιο του 2000 (βλ. Μουσική Εκπαίδευση τεύχος 7, 2000, σ.σ. 36-38). 

2) Θωμάς Μαρόπουλος
Οι κύκλοι τραγουδιών του Schubert: Μια μουσικοπαιδαγωγική εφαρμογή

Οι κύκλοι τραγουδιών του Franz Schubert πάνω σε στίχους του Ρομαντικού ποιητή Wilhelm Moller, είναι ολοκληρωμένες ιστορίες με μουσικό περιεχόμενο κατάλληλο για διδασκαλία στα Μουσικά μας Σχολεία. Αποτελεί προσωπική εμπειρία του γράφοντος η πειραματική εφαρμογή της διδασκαλίας του Lied - σε ωδειακά τμήματα αλλά και στο Πανεπιστήμιο Αθηνών - ως οντότητας μουσικών παραγόντων όπως είναι η Αρμονία, η Μουσική Μορφή, η Μελωδία, η «Πιανιστική Συνοδεία», αλλά και βαθύτερα εκφραστικών εννοιών όπως η περιγραφική εικόνα, ο συμβολισμός, η συνολική ατμόσφαιρα ενός περιεχομένου κ.α. Η συνάφεια των παραπάνω στοιχείων και όχι η μεταξύ τους αποστασιοποίηση είναι και ο αποκλειστικός διδακτικός μας στόχος, που τον κάνει εύκολα πραγματοποιήσιμο η θαυμαστή οικονομία των μέσων που διαθέτει το Lied. 

3) Τόνυ Ευαγγελόπουλου
Η χρήση της νέας τεχνολογίας για την βελτίωση της βαρηκοϊας εκ του θορύβου

Η απώλεια ακοής λόγω έκθεσης του αυτιού σε δυνατούς ήχους είναι μια από τις επικρατέστερες μορφές ακουστικής βλάβης που έχει σαν αποτέλεσμα την μακροχρόνια αλλαγή στο κατώφλι της ακοής. Αυτή εμφανίζεται σαν μια συγκεκριμένη απώλεια ακοής στην περιοχή των 3 - 6 kHz του ακουστογράμματος και συσχετίζεται με δυσκολίες στην αντίληψη του λόγου από το άτομο, ιδίως όταν αυτό ευρίσκεται σε περιοχή όπου υπάρχει περιβαλλοντικός θόρυβος. Συσχετίζεται επίσης και με ακουστικές εμβοές (tinnitus). Η απώλεια ακοής λόγω έκθεσης σε θόρυβο έχει ύπουλη ύπαρξη και θεωρείται προοδευτική με την συνεχή έκθεση του αυτιού σε θόρυβο, μη αναστρέψιμη και χωρίς θεραπεία από την στιγμή της έναρξης της.
Η παρούσα έρευνα είναι μια προκαταρκτική διερεύνηση των αποτελεσμάτων από την χρήση της τεχνολογίας της θεραπείας μέσω ηχητικών ερεθισμάτων για την βελτίωση αυτής της απώλειας της ακοής. Διερευνήθηκαν δυο περιστατικά με απώλεια ακοής μετά από έκθεση του αυτιού σε θόρυβο. 
Η θεραπευτική αγωγή μέσω «ηλεκτρονικού αυτιού» είχε σαν αποτέλεσμα την βελτίωση κατά 12 dB και 30 dB αντίστοιχα, κατά μέσον όρο, στο πιο προσβεβλημένο από την έκθεση στο θόρυβο αυτί του ατόμου. Επίσης είχε σαν αποτέλεσμα την βελτίωση της ακοής μέχρι και 45 dB στις περισσότερο πληγείσες συχνότητες στο αυτί του ατόμου. 
Το ηλεκτρονικό αυτί είναι ένα μηχάνημα που στοχεύει στη βελτίωση της ακουστικής επεξεργασίας και ανάλυσης των ήχων. Ο μηχανισμός μέσω του οποίου το ηλεκτρονικό αυτί εκπαιδεύει ηχητικά το αυτί του ατόμου, επιδρά κυρίως στους μύες του μεσαίου αυτιού (μυς της σφύρας και μυς αναβολέα). Η ηχητική εξάσκηση και ηχοθεραπευτική αγωγή αποτελεί μια πολλά υποσχόμενη προσέγγιση στο να μειώσει την απώλεια ακοής. Οι έρευνες σε αυτό τον τομέα συνεχίζονται με στόχο να επαληθευθεί το ίδιο ερευνητικό πρωτόκολλο, να επιβεβαιωθούν τα ίδια επιθυμητά αποτελέσματα και να διερευνηθούν τα ακουολογικά και δημογραφικά χαρακτηριστικά των ατόμων με τις μεγαλύτερες πιθανότητες ωφέλειας από την θεραπεία μέσω ήχων.

4) Λευκοθέα Καρτασίδου
Θεραπευτική Παιδαγωγική Μουσικοθεραπεία ( H. Goll 1993): Βασικές αρχές μιας ολιστικής και διαλογικής θεώρησης και πρακτικής εφαρμογής της μουσικοθεραπείας σε παιδιά και νέους με βαριά νοητική στέρηση

Κατά τον H. Goll η μουσικοθεραπεία και η μουσικοπαιδαγωγική είναι στενά συνδεδεμένες μεταξύ τους, από τη μια γιατί και οι δυο ασχολούνται με τη μουσική και από την άλλη γιατί κάθε άνθρωπος είναι σε θέση να βιώσει με οποιοδήποτε τρόπο τη μουσική. «Η μουσική είναι ένας τομέας, του οποίου το αντικείμενο και το περιεχόμενο - σε αντίθεση με το χώρο των ακαδημαϊκών γνώσεων - μπορεί να βιωθεί χωρίς κανένα εκ των προτέρων προκαθορισμένο σκοπό όσον αφορά τη δομή» (Laufer). Η μουσική συμπεριφορά έχει να κάνει με μουσικοπαιδαγωγικές δραστηριότητες και η μη - μουσική συμπεριφορά με μουσικοθεραπευτικές δραστηριότητες. Μέσα από την πολύχρονη εμπειρία του με παιδιά και νέους με βαριά νοητική στέρηση ο Goll διαμόρφωσε μια μέθοδο την οποία ονόμασε «Θεραπευτική Παιδαγωγική Μουσικοθεραπεία». Στην προσπάθεια του να βρει μια δίοδο επικοινωνίας με τα άτομα με βαριά νοητική στέρηση έδωσε ιδιαίτερη έμφαση: πρώτον στη σχέση θεραπευτή - client και δεύτερον χρησιμοποίησε τη μουσική ως μέσο στην ευρύτερη της σημασία. Η ιδιαίτερη ανάγκη που εντοπίζεται τα τελευταία χρόνια στον ελληνικό χώρο της Ειδικής Παιδαγωγικής, για την εφαρμογή της μουσικής σ' αυτόν, καταστεί αναγκαία τη μελέτη και επεξεργασία των διαφόρων θεωριών που είναι ήδη γνωστές στην Ευρώπη και στην Αμερική, πριν ακολουθήσει η εφαρμογή τους και προσαρμογή τους στα ελληνικά δεδομένα. Παρακάτω θα γίνει μια παρουσίαση της θεωρίας του Goll προκειμένου να προσδιορισθούν εκείνα τα σημεία που θα μπορούσαν να συμβάλλουν στη διαμόρφωση μιας «κοινής γραμμής» όσον αφορά τη μουσικοθεραπεία και τη μουσική εκπαίδευση στην Ειδική Παιδαγωγική.

5) Μαγδαληνή Καραγιάννη
Ομάδα Θεραπείας με χρήση μουσικής - τραγουδιών σε ξενώνα χρόνιων ψυχιατρικών ασθενών (Το τραγούδι συναντά τη σιωπή)

Υπάρχουν πολλές αναφορές στη βιβλιογραφία σχετικά με τη χρήση της μουσικής σε ομάδες ηλικιωμένων και ειδικότερα ψυχιατρικών ασθενών. Η μουσική ενταγμένη σε ένα θεραπευτικό πλαίσιο μπορεί να διευκολύνει την επικοινωνία και τη συναισθηματική έκφραση μειώνοντας την απομόνωση και την απόσυρση. Επίσης, μπορεί να βοηθήσει στην οργάνωση του λόγου και των γνωστικών λειτουργιών, να βελτιώσει την κινητικότητα, τη διάθεση και την αυτοεκτίμηση. 
Σε αυτή την παρουσίαση περιγράφεται η χρήση μουσικής και τραγουδιών σε ομάδα χρόνιων ψυχιατρικών ασθενών οι οποίοι ζούσαν στο Ψυχιατρείο της Λέρου και εντάχθηκαν σε ξενώνα της εταιρείας ΕΨΥΚΑ στα πλαίσια προγράμματος αποασυλοποίησης. Οι στόχοι ήταν η ψυχαγωγία, η συναισθηματική και σωματική κινητοποίηση τους και η ενσωμάτωση στην ομάδα. Αποφασίσαμε να αρχίσω τραγουδώντας με την κιθάρα μου (δεν υπήρχαν μουσικά όργανα στο χώρο), επιλέγοντας τραγούδια που πιθανό να είναι γνωστά στους περισσότερους και να συνδέονται με γεγονότα, πρόσωπα και εμπειρίες της ζωής τους (λαϊκά, δημοτικά, ρεμπέτικα, κ.λ.π.). Κάθε μέλος της ομάδας συμμετέχει με το δικό του τρόπο που αλλάζει σταδιακά με το πέρασμα του χρόνου (γίνεται σύντομη αναφορά στην πορεία κάθε μέλους). Τα περισσότερα μέλη διατηρούν την προσοχή τους περισσότερη ώρα απ' ότι στις αρχικές συναντήσεις, πολλοί κρατούν το ρυθμό με κίνηση των χεριών ή των ποδιών τους ή λικνίζονται με τη μουσική.
Η μουσική και τα τραγούδια αποτελούν ένα μέσο σύνδεσης μεταξύ μας παρά την ελάχιστη λεκτική επικοινωνία. Ένα χαμόγελο, μια κίνηση του χεριού στο ρυθμό της μουσικής, μια παρατεταμένη βλεμματική επαφή, είναι σημαντικές ενδείξεις κινητοποίησης και ανταπόκρισης για άτομα που έζησαν 30 - 40 χρόνια σε περιβάλλον με ελάχιστα ερεθίσματα και μας ενθαρρύνουν να συνεχίσουμε.

6) Πέτρος Θεοδώρου
Ήχος και Σκηνικές τέχνες: Μια αγωγή με θεραπευτικές προεκτάσεις

Στα τελευταία χρόνια δούλεψα εκπαιδευτικά, με τη μορφή κατάλληλα εκάστοτε διαρθρωμένων εργαστηρίων, με ομάδες ατόμων από τους χώρους της μουσικής, του θεάτρου και του χορού, όπως και με ομάδες ανθρώπων χωρίς καμία καλλιτεχνική ιδιότητα. Συστηματοποιώντας την εμπειρία αυτής της δουλειάς ανέπτυξα σταδιακά μία ιδιότυπη εκπαιδευτική «ύλη» η οποία:
- είναι απολύτως ελαστική στον προγραμματισμό της, 
- επιδέχεται διαρκή ανάπτυξη και προσαρμογή, και, 
- ήδη λειτουργεί κατά πολλούς τρόπους θεραπευτικά.
Η συγκεκριμένη εισήγηση έχει ως στόχο:
- να παρουσιαστεί επιγραμματικά αυτή η δουλειά, 
- να επισημανθούν τα πρώτα συμπεράσματα ως πυρήνες περαιτέρω ανάπτυξης, 
- να κινητοποιήσει το ενδιαφέρον ανθρώπων από τον χώρο της μουσικοθεραπείας. 
Το περιεχόμενο αυτής της «ύλης», προς το παρών, αφορά πέντε ενότητες που συνδιάζονται και υλοποιούνται ανάλογα με τις εκάστοτε συνθήκες: 
1) Αφορά τον ήχο (μουσικό ή μη) και τον τρόπο αντιμετώπισης του σε αυτό το υλικό ως βασικό εργαλείο τόσο εννοιολογικά όσο και τεχνικά (σε επίπεδο πράξης). 
2) Γίνονται συστηματικές μουσικές ακροάσεις στις οποίες οι συμμετέχοντες εκπαιδεύονται ως ενεργητικοί αποδέκτες της μουσικής.
3) Ανιχνεύονται θεωρητικά και πρακτικά οι σχέσεις του ήχου με τον λόγο και την κίνηση καθώς και οι διαστάσεις ακι αντιστοιχίες των πεδίων. 
4) Γίνονται ασκήσεις όπου οι συμμετέχοντες καλλιεργούν τη συναισθηματική και συγκινησιακή τους δεκτικότητα, καθώς και τη δυνατότητα να εκφράζονται άμεσα με ήχο και σκηνική δράση, ευαισθητοποιημένοι στην «ενέργεια» που ασκούν και υφίστανται. 
5) Μέσα από τους νόμους που διέπουν τη μουσική κατανοούνται οι βασικοί κανόνες και νόμοι των σκηνικών τεχνών και της «παράστασης», καθώς και οι βασικοί κανόνες της γενικότερης συνθετικής διαδικασίας.

Όλα τα παλαιότερα τεύχη διατίθενται από την Ε.Ε.Μ.Ε. Για περισσότερες πληροφορίες επικοινωνήστε μαζί μας στα τηλ. 6939560404 και 2310858658 ή στην ηλεκτρονική διεύθυνση This email address is being protected from spambots. You need JavaScript enabled to view it.

2) Filippia Rizopoulou: Basic concepts in Music Therapy.

3) George Loukas, Dora Psaltopoulou: Sound and emotional state.

4) Elizabeth Georgiadi: Music Therapy for children and adolescents with special needs.

5) John Kenneth Adams: Notes on centering your students in the learning experience.

6) Vaya Zannou: Coming in contact with opera through Mozart's "Magic Flute" - An approach for children.

Abstracts:

1) Alessandra Sax- Lane
Music and the Chronic Mentally III; A Group Therapy

This presentation on Music and the Chronic Mentally III; A Group Therapy will examine the following issues in the fields of Mental Health and Music Therapy:
1) What is Music Therapy and how it used in clinical mental health settings?
2) What are the specific features of a Music Therapy group?
3) Group Therapy methods and interventions 
4) How is music used as an intervention in group therapy?
5) A case study of a group process: A twelve session music project with the chronic mentally ill, at a Psychiatric Rehabilitation Centre in the U.S.A.

2) Filippia Rizopoulou
Basic concepts in Music Therapy

This presentation is based on a Gerund's Orff book "Key Concepts in the Orff Music Therapy" (Germany, 1984) which was translated in English by Jeremy Day and Sirley Salmon. The book thanks to the ten years’ empirical work of the author contains 77 concepts, which have been proved to be very important for the diagnosis, prognosis and therapy of people with the use of music. Music therapy itself is still for many people a subject of hot debate. Everybody admits that music has a positive effect on each and everyone of us but it is often unclear what kind of effects someone can experience and how these effects san be put into practical use. Some of these key concepts are the following: Perception, Space - Time, Language, Communication… Each "Key - word" is specified in the field of music therapy and thoroughly examined on all its parts. All these basic concepts are very useful for therapists, teachers, psychologists and generally people who deal with children with various disabilities. Apart from the definitions, the author gives us a lot of examples from music therapy sessions at the kindergarten in Munich.

3) George Loukas, Dora Psaltopoulou
Sound and emotional state

The target of this project is to study the influence of sound upon the emotional state of individuals. The initial supposition was that each sound produces a special form of emotions, feelings and disposition of the soul.
Material and method: Groups of four individuals were used. Then four frequencies (sounds) out of the 64 piano keys were chosen randomly. Each individual of these groups listened to the same sound and was asked to record any changes in their emotional state.
Results- conclusions: The conclusion that arrived from the resolution of the findings is that every sound exhibits a special form of emotions, feelings and disposition on the individuals. This project presents the qualities of the sounds that were explored to the experiment.

4) Elizabeth Georgiadi
Music Therapy for children and adolescents with special needs

The purpose of this article is to present Musical Therapy and the musical therapist's ways and framework of working. Specifically, it touches on how Musical Therapy can help children with disabilities and their families effectively cope with life and its difficulties. This article aims for one thing at explaining in a simple and comprehensive way what Musical Therapy is and how therapeutic goals can be achieved. It is emphasized that music is mainly used as a means of contact and communication with the environment and the other individuals and it is not therapeutic per se. 
This article begins with the definition of Music Therapy and a description of the sessions' content. In order for you to understand the ways the music therapist works, I consider a presentation of Music Therapy's philosophy and principles substantial, and, more specifically, a presentation of how the music therapist "sees" the child in front of him/her. Since Music Therapy firstly aims the development of the child's personality and secondly at his/her development in other areas, I will refer to the theoretical framework related to the way an individual’s personality is being developed and also to the ways with which an individual takes advantage of any inborn capabilities. I believe that an example concerning a Music Therapy group of teenagers with disabilities will help you comprehend the following three elements of therapy: understanding of the therapist's conduct towards the child, the role of music within the sessions and the importance of child/therapist relationship.

5) John Kenneth Adams
Notes on centering your students in the learning experience*

Plato was noted for saying that if you want your pupils to appreciate the beautiful, then you must present them with something beautiful to observe, with the ensuing dialogue between master and student unfolding the path to self - discovery. Obviously all of us who teach piano want our students to play with an appreciation and understanding of how to create the enormous range and expressive power possible on our instrument of choice. It is through this process of observation and ensuing dialogue that we begin to learn just how our students are actually experiencing the learning process. At the same time, we are giving them the opportunity to explore our own creative world. I think keeping a delicate balance between these two very different worlds, ideally that of questioning student and the nurturing master, is the real secret in developing the high level of trust and respect so necessary for a true learning experience. It can also be the catalyst for stimulating the students' emotional development, which in turn will lead them towards new goals in musical taste and feeling. 
* Reprinted by permission of Piano Pedagogy Forum, University of South Carolina, USA, http://www.music.sc.edu/ea/keyboard/ppf.

6) Vaya Zannou
Coming in contact with opera through Mozart’s “Magic Flute” - An approach for children

In the context of their acquaintance with different kinds and forms of music, 4th-grade students of the Elementary School in the Macedonian School of Thessaloniki, came in contact with opera through a series of activities that lasted 6 teaching hours. The opera used was Mozart's "Magic Flute". Students participated actively, described feelings, characters and situations involved, and experienced the substance of music drama.