ABSTRACT
When I read Isenberg-Grezda's article (1988), which communicated the bewildering array of models attempting to assess music therapy, as well as the confusion of the professional community in the face of so many models, my reason agreed and my heart sank. Now, a few months later, my sense is that it is not so much the plethora of assessment models which is the confusing issue, as the absence of attempts to clarify and define the musical relationship between therapist and patient, upon which the therapeutic processes depends. Moreover, I suspect that the bewilderment of our professional colleagues is, in part at least, a reflection of our own lack of clarity about the nature and texture of the musical/therapeutic improvisation.
