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Artur C Jaschke

Artur C. Jaschke (PhD) has obtained his Bachelor degree in Music (Contrabass and Drums) at Dartington College of Arts (United Kingdom) and the University of Otago (New Zealand). During this period he already developed a strong interest in music cognition and the neurology of music, which led him to complete his Master’s degree at the University of Amsterdam (The Netherlands), in Musicology and Music Cognition (thesis title: Controlled Freedom: Cognitive Economy versus Hierarchical Organisation in jazz improvisation) and his PhD at the VU University Amsterdam (The Netherlands) in clinical Neuropsychology with a specialisation in clinical Neuromusicology (title: Is Music a Luxury?).


Currently, he is Reader (Lector) Music-based Therapies and Interventions and in Ecologies of clinical Neuromusicology: creative AI, Music Sciences and Health Care Applications at the department of Music Therapy at ArtEZ University of the Arts in Enschede the Netherlands, specialising in the interrelation of music, technology and brain maturation in clinical and non clinical populations as well as clinical Research Fellow cognitive neuroscience of music at the Neonatal Intensive Care Unit at the University Medical Center Groningen and the Cambridge Institute for Music Therapy Research (UK).

He works as Research Associate at the University of Cambridge (UK). 

Photo: Bianca Sistermans

The effects of music on the brain
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 Navigating Music Technology

Implementing a practice-based application of music technology into music-based therapeutic interventions and professional training.


In this groundbreaking handbook, Carola Werger, Marijke Groothuis, and Artur Jaschke investigate the various opportunities that music technology can bring to the profession, the field, and the development of music therapy in general. If we cannot master the instrument we play – here the music technology itself – we will not be able to help our clients make music with this medium. As music therapists, we often wonder how we can use technology in our everyday practice, how we can learn to use it effectively and last but not least, how we can incorporate music technology into the curricula of professional music-therapy education.The book provides the theoretical framework in which the practices-based approach is imbedded, but it can also be used in education, as a guide in everyday clinical practice, as a collection of methods and approaches, and as a window into the practical use of music technology.


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