|dc.description.abstract||This thesis is a study of therapeutic music programmes in post-war Bosnia and
Herzegovina. This study focuses on how different participant groups perceive programme
aims and benefits and what these different perceptions reveal about the programmes
as well as ways in which the local context impacts the programmes. Analysis
is based on data gathered through interviews, observation, participant observation, and
questionnaires obtained during five fieldwork visits undertaken between November
2003 and November 2004.
While all participant groups agree that the programmes are beneficial, there are important
differences in the ways different participant groups perceive programme benefits
and the different ways in which the programmes approach sessions. Constructions
of therapy appear to differ both between programmes and between international and
All participant groups identified improved client communication and social skills
as primary session outcomes. Clients appear to be largely unaware of the therapeutic
aims of their sessions. Parents appear to have little influence and are not always notified
that their children are involved with the programmes. International staff members
appear to be intolerant of parents who do not heed their advice or reinforce progress
made during sessions.
In addition to running therapeutic sessions, these programmes work to increase
inter-ethnic tolerance and to improve the skills of other local professionals. Programme
success appears to be hindered by uncertainties inherent in working in a post-war environment.
Developed and largely influenced by internationals, the programmes also
face uncertainty as to whether they possess the necessary local leadership and ownership
for long-term sustainability.
There is evidence that tensions within, between, and outwith the programmes limit
programme potential. Many of these tensions appear to be tied to local-international
relations within programmes, which are exacerbated by national local-international
tensions. A funding shortage has contributed to a competitive rather than a cooperative
relationship between programmes.
As the first detailed study of post-war therapeutic music programmes, this study
has the potential to impact similar work in other regions and provides a more informed
backdrop against which judgements can be made regarding the role and appropriateness
of music as a form of therapy in post-war regions.||en