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In this article I review some of the latest books in what has been called the 'New Musicology'. I also ask why music therapists and musicologists seem until now to have taken so little notice of each other's work, but suggest that this situation is changing. Developments in critical thinking about music represented by the 'New Musicology' may be of particular relevance to music therapist searching for theoretical perspectives on their work. But equally the theorists of the 'New Musicology' could learn much from music therapy - which can be seen in many ways as a 'laboratory' for new thinking about the nature of music and its place in society.

Following an overview of the epidemiology and clinical features of traumatic brain injury and stroke, standard rehabilitation programmes are discussed, with consideration of the therapeutic aims and outcomes of these interventions. The physical, cognitive, communicative, social and psychological consequences of neurological impairment are explained, and the role of music therapy in rehabilitation programmes is introduced. A review of the literature on music therapy and TBI and stroke form 1983-96 includes details of more recent developments and research in Europe and the United States of America. Models of intervention are discussed, such as rhythmic re-training of upper limb movements and gait; treatment of aphasia; and the treatment of the psychosocial effects of TBI and stroke. Links with theoretical frameworks such as environmental enrichment are considered. The model of intervention for TBI and stroke developed recently in Scotland is discussed in detail. The value of improvisation in enhancing self-esteem and achievable outcomes is emphasised, as well as the importance of using familiar music to enhance reminiscence and motivation in people with intact musical memories. Case studies will demonstrate how a model of intervention has emerged. Research with people with stroke, recently completed in Scotland, is summarised, and future directions for music therapy provision and research in the UK discussed.

The writings of S.H. Foulkes, founder of group analysis, abound with musical imagery. This paper describes how musical experience has contributed to the author's understanding of aspects of group analytic theory and practice, and is an attempt to put some of that understanding back into the development of a model of group music therapy.