There is no existing qualitative synthesis of the music therapy literature on parents’ perspectives on their children’s music therapy. This study seeks to fill this gap, motivated by the first author’s experiences as a clinician/researcher. A systematic search of health databases, hand searches of key journals and searches of doctoral theses were undertaken to identify relevant studies. Thirteen studies which met inclusion criteria, including a total of 102 participants, were identified. Relevant data were extracted from these studies for comparison and analysis, with quality of studies assessed using the CASP appraisal tool. Findings were analysed following procedures of thematic synthesis. Six descriptive themes were grouped into three analytic themes: Parents perceived positive impacts of music therapy on their children; parents experienced music therapy as a nurturing environment for themselves and their children; and some parents experienced challenges to their engagement with music therapy. Most studies (12/13) explored parents’ perceptions of music therapy where they were included in sessions. The findings identify positive perceptions of family-centred models of music therapy for children and parents. Parents’ perceptions of children were altered positively through experiencing them in new ways in music therapy. Parents also perceived positive outcomes for their children. These findings identify an emphasis in the qualitative literature on parents’ perceptions on research into music therapy which includes parents in sessions. Only one study explored perceptions of a model where parents were not present during their child’s sessions. More research is needed into parents’ perceptions of music therapy where parents are not present during sessions. Further intervention studies into family-centred models of music therapy with children are also recommended.

This essay examines the institutional commonalities among several schools in which I have worked as a music therapist, illustrating how thinking about my role as an outsider has informed my therapeutic approach. I refer to the broader concept of the outsider as it relates to both fictional and historical figures and in particular to Sherly Williams's article ‘The Therapist as Outsider: The Truth of the Stranger‘ (1999) in which she compares the therapist to the archetypal figures of the fool and the seer. Finally, I link these ideas to Winnicott's concept of play, presenting the music therapist's role in school as that of an advocate for fostering creative impulses, which can at times be at odds with (or perhaps complementary to) the central educational aims of the school.

This article explores distinctions between different approaches to music therapy and how these distinctions might be relevant to clinical practice. The article adopts an exploratory subjective stance, with the author exploring the relevance of a perceived distinction between ‘music-centred’ and ‘psychodynamic’ music therapy, as described in the literature, to their own clinical practice. A series of clinical vignettes, taken from work with children and young people, are used to illustrate the influence of both psychodynamic and music-centred theories on clinical practice in context. An integrative client-centred approach is proposed, where psychodynamic thinking and music-centred ideas can be incorporated as needed, according to the individual needs of each client.

This qualitative study explored parents’ perspectives on their child receiving individual music therapy in a community setting in an NHS service in London, UK. Parents of children aged 6–11 receiving or recently discharged from music therapy took part. Data were collected through semi-structured interviews which were digitally recorded, transcribed, and analyzed following procedures of inductive thematic analysis. Music therapy was generally perceived to provide a nurturing environment for children, and communication with music therapists was mostly experienced as helpful, but with some perceived challenges. Parents perceived positive outcomes of music therapy, including children becoming calmer and engaging more with musical activities at home. Understanding of music therapy was perceived as an evolving process for parents. Some parents described a need for more information prior to music therapy. The findings of this study broadly support the model in the service of working with children aged 6–11 without parents generally present during sessions. However, there were indications that, for some families, a more flexible approach might be beneficial for the child. Participants’ commentaries on perceived outcomes for children indicate potential for intervention studies investigating the impact of music therapy, while broader perceptions of the value of music therapy indicate a need for studies exploring reasons for effectiveness.