place music and musical experience in a central role. The text provides a philosophical and practical rationale for musical experience as a legitimate goal of clinical music therapy. It is comprehensive in its historical examination of music-centered thinking in music therapy and the manifestation of this way of thinking in various contemporary music therapy models. The latter part of the book develops the specifics of a particular music-centered theory that is meant to be applicable across different domains of treatment. This book is essential for readers interested in the development of theory in music therapy, for music-centered practitioners who have been searching for a vocabulary and conceptual framework in which to articulate their clinical approach, and for anyone interested in the intrinsic value of musical experience for human development.

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