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| name = Paul Newham |
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| image = Paul_Newham.jpg |
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| caption = Paul Newham |
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| birth_date = {{b-da|16 March 1962}} |
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| birth_place = [[United Kingdom]] |
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| nationality = British |
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'''Paul Newham''' (born 16 March 1962) is a British psychotherapist, educator, and author known for developing techniques used in [[psychology]] and [[psychotherapy]] to facilitate and examine two forms of [[human communication]]: the [[interpersonal communication]] through which people speak aloud and listen to others, and the [[intrapersonal communication]] that enables individuals to converse silently with themselves. His methods make extensive use of [[the arts]] with particular emphasis on [[literature|literary]] and [[human voice|vocal]] mediums of expression including [[creative writing]], [[storytelling]], and [[song|music]]. He is cited by peers as a pioneer in recognition of his original contribution to the [[expressive therapies]].<ref>Baker, F. and Uhlig, S., Voicework in Music Therapy: Research and Practice. London, UK: Jessica Kingsley Publishers, 2001.</ref><ref>McNiff, S., Integrating the Arts in Therapy: History, Theory, and Practice. Springfield, IL, USA: Charles C. Thomas Publishers, 2009.</ref><ref> Levine, E. G. and Stephen, K.,·Foundations of Expressive Arts Therapy: Theoretical and Clinical Perspectives. London, UK: Jessica Kingsley Publishers, 1998.</ref> |
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Newham began by [[special education|teaching]] young adults with [[physical disability|physical]] and [[developmental disability|developmental]] [[disability|disabilities]], many of whom could not articulate [[speech]], assisting them in combining instrumental music and [[nonverbal communication]] [[vocable|vocalization]] as an expressive alternative to spoken communication. Subsequently he worked psychotherapeutically with adults who were verbally articulate yet nonetheless could not satisfactorily communicate their reactions to [[Psychological trauma|traumatic events]] using spoken words. Newham therefore developed techniques that helped his clients understand the seemingly wordless nature of their distressing experience, and express it through artistic mediums, including [[dance]], [[music]], and [[drama]].<ref>Totton, N., Body Psychotherapy: An Introduction. Columbus, OH, USA: McGraw-Hill Education, 2003.</ref><ref>Benjamin, A., Making an entrance: theory and practice for disabled and non-disabled dancers. London, UK and New York, USA: Routledge, 2013.</ref> |
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==Childhood influence== |
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Newham's biological father was [[Bertold Wiesner|Bertold Paul Wiesner]] (1901–1972), an [[Austria]]n [[Jew]]ish [[Physiology|physiologist]] known firstly for his research into human [[fertility]] and the diagnosis of [[pregnancy]],<ref>Sanders, M. A., Wiesner, B. P. and Yudkin, J., Control of fertility by 6-Azauridine. Nature, Vol. 189, 1961, pp1015–1016.</ref><ref>McLaren, A., Reproduction by Design: Sex, Robots, Trees, and Test-Tube Babies in Interwar Britain. Chicago, USA: University of Chicago Press, 2012.</ref> and secondly for coining the term [[Parapsychology#Terminology|'Psi']] in 1942,<ref>Thouless, R. H., Experiments on paranormal guessing. British Journal of Psychology, Vol. 33, 1942, pp15–27.</ref><ref>Thouless, R. H. and Wiesner, B. P., On the nature of Psi phenomena. Journal of Parapsychology, Vol. 1, 1946, pp107–119.</ref> now widely used to signify [[Parapsychology|parapsychological]] phenomena.<ref>Thouless, R. H. and Wiesner, B. P., The Psi processes in normal and paranormal psychology. Proceedings of the Society for Psychical Research, Vol. 48, 1948, pp177–196.</ref><ref>Rhine, J. B., Psi phenomena and psychiatry. Proceedings of the Royal Society of Medicine, Vol. 43, No. 11, 1950, pp804–814.</ref><ref>Dybvig, M., On the philosophy of Psi. Inquiry: An Interdisciplinary Journal of Philosophy, Vol. 30, No. 3, 1987, pp253–275.</ref> |
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Newham is one among hundreds of children conceived through the [[artificial insemination]] of Wiesner's sperm, facilitated by his wife Doctor [[Mary Barton (obstetrician)|Mary Barton]], an [[obstretics|obstetrician]] who founded one of the first private [[fertility clinic]]s, which operated in London from the 1940s until its closure in 1967.<ref>The Palgrave Handbook of Infertility in History: Approaches, Contexts and Perspectives. London, UK: Palgrave Macmillan, 2017.</ref><ref>Blackford, Lord (26 February 1958). Artificial Insemination of Married Women". Hansard. UK Parliament. Vol. 207, 26 February 1958, pp926–1016. Retrieved 10 January 2021.</ref><ref>Barton, M., Fertility in married women. Journal of Reproduction and Fertility. Vol. 16, No. 3, 1968, pp327–331</ref> Barton and Wiesner claimed that they procured sperm from a specially selected group of exceptionally intelligent anonymous donors, and believed their own identities would remain unknown after destroying all records of the clinic's clientele.<ref>Barton, M., Walker, K. and Wiesner, B. P., Artificial insemination. The British Medical Journal, Vol. 1, No. 4384, January 1945, pp40–43.</ref><ref> Allan, S., Donor conception and the search for information: from secrecy and anonymity to openness. London, UK and New York, USA: Routledge, 2016.</ref><ref> Davis, G., A tragedy as old as history: Medical responses to infertility and artificial insemination by donor in 1950s Britain. In Davis, and Loughran, T. (Eds.), The Palgrave Handbook of Infertility in History: Approaches, Contexts and Perspectives. London, UK: Palgrave Macmillan, 2017, pp359–382.</ref> However, [[DNA paternity testing]] of adults conceived at the clinic indicates that Wiesner may have sired as many as 600 children by donating his own sperm to artificial inseminations performed by Barton, of which Newham is one. Others include children's novelist [[Eva Ibbotson]] and Canadian filmmaker [[Barry Stevens (filmmaker)|Barry Stevens]].<ref>Smith, R., British Man Fathered 600 Children at Own Fertility Clinic. The Telegraph. April 8, 2012.</ref><ref>Eccleshare, J., Eva Ibbotson obituary. The Guardian, 24 October 2010. Retrieved 10 January 2021.</ref><ref> Stevens, B., (Writer & Director) Bio-Dad. Barna-Alper Productions. Canadian Broadcasting Corporation (CBC), 2009.</ref><ref> Stevens, B., (Writer & Director) Offspring. Barna-Alper Productions. Canadian Broadcasting Corporation (CBC), 2001.</ref> |
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Newham grew up falsely believing that his mother's abusive husband Derek Joseph Newham was his biological father, and frequently attempted to discern the subject of violent arguments between them as he listened in his bedroom, from where only the [[timbre]] of their voices, including shouts, screams, and crying were perceptible. This inspired Newham to later investigate the psychology of the human voice, with particular focus on non-verbal expressions of [[emotion]].<ref>Newham, P., Therapeutic Voicework, London: Jessica Kingsley, 1998.</ref> |
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==Education== |
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Newham initially trained in [[Stanislavski's system]] of [[method acting]] at [[Drama Centre London|Drama Centre]] in London, where he studied the [[analytical psychology]] of [[Carl Jung]] and the movement analysis of [[Rudolf von Laban|Rudolf Laban]] under the tutelage of [[Yat Malmgren|Yat Malmgren.]] After working in [[experimental theatre]], Newham became interested in the [[Process art|process]] of [[transformative arts]], and how it can contribute to [[well-being]] and [[empowerment]] for those who participate. He subsequently trained at [[Dartington College of Arts]] where he studied [[Authentic Movement|authentic movement]] with [[Mary Fulkerson|Mary Fulkerson,]] [[contact improvisation]] with [[Steve Paxton]], and [[cultural psychology]] with [[Anne Kilkoyne]], before pursing post-graduate research at the universities of [[University of Warwick|Warwick]] and [[University of Exeter|Exeter]].<ref name="ResearchGateProfile">{{cite web|url= https://www.researchgate.net/profile/Paul_Newham3/info|title=Paul Newham|work=[[ResearchGate]]|access-date=December 12, 2017}}</ref><ref>Coreil, C. and Napoliello, M. (Eds.), Author Biographies. Journal of the Imagination in Learning, Vol. 3, No. 1., 1995–96, p118.</ref> |
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==Work== |
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===Vocal pedagogy=== |
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[[File:Alfred_Wolfsohn.jpg|240px|thumb|left|alt=Alfred Wolfsohn.|Alfred Wolfsohn]] |
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During his undergraduate studies at Dartington College of Arts, Newham was inspired by the life of German [[Vocal pedagogy|vocal coach]] [[Alfred Wolfsohn]], and the research conducted at the [[Alfred Wolfsohn Voice Research Centre]]. |
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Alfred Wolfsohn (1896–1962) was a German [[Jew]] who suffered persistent [[auditory hallucination]] of screaming soldiers, whom he had witnessed dying of wounds while serving as a [[Combat medic|stretcher bearer]] in the trenches of [[World War I]], at the age of eighteen. After being subsequently diagnosed with [[shell shock]], Wolfsohn did not recover in response to hospitalization or [[Psychiatry|psychiatric]] treatment, but claimed to have cured himself by vocalizing the extreme sounds of his hallucinations, bringing about what he described as a combination of [[catharsis]] and [[exorcism]].<ref>Wolfsohn, A., Die Brücke. London 1947 (Manuscript). Trans. Marita Günther and Sheila Braggins. Repository: Joods Historisch Museum, Amsterdam: NL.</ref><ref>Wolfsohn, A., Orpheus, oder der Weg zu einer Maske. Germany 1936–1938 (Manuscript). Trans. Marita Günther. Repository: Joods Historisch Museum, Amsterdam: NL.</ref><ref>Newham, P., The psychology of voice and the founding of the Roy Hart Theatre. New Theatre Quarterly, Vol. IX, No. 33, February 1993, pp59–65.</ref> |
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Wolfsohn was encouraged by the range and expressiveness of his own voice, resulting from the vocal exercises and techniques he developed in an attempt to heal the symptoms of [[Posttraumatic stress disorder|trauma]] sustained during the war. He subsequently began teaching others, acting as both a [[singing]] teacher and [[Psychotherapy|psychotherapist]], seeking to combine the principles of both disciplines.<ref>Newham, P., The psychology of voice and the founding of the Roy Hart Theatre. New Theatre Quarterly, Vol. IX, No. 33, February 1993, pp59–65.</ref><ref>Günther, M., The human voice: On Alfred Wolfsohn. Spring: A Journal of Archetype and Culture, Vol. 50, 1990, pp65–75.</ref> |
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Newham [[Empathy|empathized]] with Wolfsohn's [[Posttraumatic stress disorder|post-war trauma]], having himself been traumatized by the sounds of violent arguing between his mother and Derek Newham while growing up. He therefore built upon and extended the endeavours begun at the Alfred Wolfsohn Voice Research Centre, aligning them with [[Cognitive science|cognitive]] and [[Psychoneuroimmunology|psychophysiological]] principles, alleging that vocalizing might have therapeutic benefits by means comparable to those used in the [[Expressive therapies|expressive therapies]], including [[drama therapy]], [[music therapy]], and [[Dance therapy|dance movement therapy]].<ref>Storm, S., The human voice: Psychology and psychodynamic voice therapy. Psyke & Logos: Musik og Psykologi, Vol. 28, No. 1, 2007, pp447–478.</ref><ref>McKinstry-Edwards, D., Singing: soul's mythic mirror. An exploration of myth's musical nature. Carpinteria, CA, USA: Pacifica Graduate Institute, 2006.</ref><ref>Johnston, E. A., Between liminality and transgression: Experimental voice in avant-garde performance. Canterbury, UK: University of Canterbury, 2014.</ref><ref>Magnis, E. S., Finding a vocal path through depression. Carpinteria, CA, USA: Pacifica Graduate Institute, 2011.</ref><ref>Feldman, J. C., The more we listen: Towards a depth psychological understanding of sound as image. Carpinteria, CA, USA: Pacifica Graduate Institute, 2011.</ref> |
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===Ethnomusicology=== |
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While writing a [[monograph]] about the work of Alfred Wolfsohn, Newham collaborated with the British [[author]], [[archivist]], and [[curator]] [[Leslie Shepard]], who documented work undertaken at the Voice Research Centre, through [[documentary film|film]], [[Sound recording and reproduction|sound recordings]], and illustrated written [[Diary|diaries]].<ref>Newham, P. The Prophet of Song: The Life and Work of Alfred Wolfsohn. London, UK: Tigers Eye Press, 1997.</ref><ref>Steinberg, M. P., and Bohm-Duchen, M., Reading Charlotte Salomon. Ithaca, NY, USA: Cornell University Press, 2006.</ref><ref>Hart, R., et al, An outline of the work of the Alfred Wolfsohn Voice Research Centre. Subsequently published in The Roy Hart Theatre: Documentation and interviews. Dartington Theatre Papers, ed. David Williams, Fifth Series, No. 14, pp2–7. Series ed. Peter Hulton. Dartington: Devon, UK: Dartington College of Arts, 1985.</ref> |
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Shepard also collected thousands of audio [[field recording|field recordings]] exemplifying diverse forms of [[religious music|music and song]] including those from [[Africa]], [[Asia]], and the [[Americas]], which he introduced to Newham, inspiring him to study how performing and listening to [[sacred]] words and music, including [[hymn|hymns]], [[chant|chants]], and [[mantra|mantras]] contributes to many [[indigenous peoples|indigenous]] forms of [[religious experience]], [[spiritual practice]], and [[traditional medicine]].<ref> Matthews, C., Singing the Soul Back Home: Shamanism in Daily Life. Newburyport, MA, USA: Red Wheel Weiser, 2003.</ref><ref>Freinkel, P. D., Singing and participatory spirituality. International Journal of Transpersonal Studies, Vol. 34, No. 1, 2015, pp152–166. </ref><ref>Baroncelli, R., Metaphysics of singing: Proposal for an inner journey to our spiritual ground through singing. Voice and Speech Review, Vol. 9, 2015, pp4–14.</ref><ref>Freinkel, P. D., Transpersonal implications of singing: An intuitive inquiry. Palo Alto, CA, USA: Institute of Transpersonal Psychology, 2014.</ref> Subsequently, Newham endeavoured to discover whether the expression of sacred and secular vocal arts, including [[prayer|prayers]] and [[ballad|ballads]], might have a psychotherapeutic application.<ref>Peng-Keller, S., Gebet als Resonanzereignis: Annäherungen im Horizont von Spiritual Care. Göttingen, Germany: Vandenhoeck & Ruprecht, 2017.</ref><ref>Stollznow, K., Language Myths, Mysteries and Magic. London, UK: Palgrave Macmillan, 2014.</ref> |
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Newham became particularly interested in the extensive range of vocal qualities that many indigenous peoples demonstrated, and endeavoured to research the expressive potential of the human voice, furthering work began by Wolfsohn, and situating it in the context of contemporary [[musicology]], [[psychology]], and [[physiology]].<ref>Winkelman, M., Culture and Health: Applying Medical Anthropology. Hoboken, New Jersey, USA: John Wiley & Sons, 2008.</ref><ref>Winkelman, M., Shamanism: A Biopsychosocial Paradigm of Consciousness and Healing. Santa Barbara, CA, USA: Praeger, 2010. </ref><ref>Winkelman, M., Shamanism: The Neural Ecology of Consciousness and Healing. Santa Barbara, CA, USA: Greenwood Publishing Group, 2000. </ref><ref>Skaggs, R. B., Messages from an Illness: Deepening Faith Through Cancer. Bloomington, IN, USA: WestBow Press, 2013. </ref> |
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===Psychoacoustics=== |
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Newham began his research by using a variety of [[medical imaging]] techniques, including [[videostroboscopy]], to film the [[vocal tract]] of vocalists as they made a broad range of sounds, at the Ferens Institute of Otolarynglogy within the [[Middlesex Hospital]] London, in collaboration with [[Otorhinolaryngology|Otorhinolaryngologist]] [[D. Garfield Davies]]. He then subjected these recordings to analysis, associating specific perceptual qualities, such as [[Pitch (music)|pitch]], [[breathy voice|breathiness]], and [[Nasalization|nasality]], with correlating articulations of the vocal tract.<ref>Salgado, A. G., Rethinking voice evaluation in singing. In Davidson, J. W. (Ed.), The Music Practitioner: Research for the Music Performer, Teacher and Listener. London, UK and New York, USA: Routledge, 2017, pp193–199.</ref><ref>Young, L., The potential health benefits of community based singing groups for adults with cancer. Canadian Journal of Music Therapy, Vol. 15, No. 1, 2009, pp11–27.</ref><ref> Tamplin, J. and Baker F., Music Therapy Methods in Neurorehabilitation: A Clinician's Manual. London, UK: Jessica Kingsley Publishers, 2006.</ref> |
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This research culminated in a methodological approach to interpreting and classifying the acoustic properties of vocal sound, and facilitating flexible voice production, which is today incorporated into [[Speech-language_pathology|speech and language therapy]], [[performing arts]] training, and the expressive therapies.<ref>Nemirinskiy, O. V. and Shevchenko, O. G., L’espressione vocale nel trattamento gestaltico dei disturbi psicosomatici. Quaderni di Gestalt: Rivista semestrale di Psicoterapia della Gestalt, Vo. 1, 2013, pp125–136.</ref><ref>Curtin, A., Alternative vocalities: Listening awry to Peter Maxwell Davies's 'Eight Songs for a Mad King'. Mosaic: A Journal for the Interdisciplinary Study of Literature, Vol. 42, 2009, pp101–117.</ref><ref>Jarjoura, K., A Choir’s Voice Whispers: The Tunes of its Identity. In Dialogue and Debate – Conference Proceedings of the 10th World Congress on Music Therapy, 2002, pp904–906.</ref> |
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===Special education=== |
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[[File:Paul_Newham_and_Libra_Theatre_member.jpg|240px|thumb|right|alt=Paul Newham working with a member of Libra Theatre – a troupe comprising people with disabilities.|Paul Newham working with a member of Libra Theatre – a troupe comprising people with disabilities.]] |
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Newham began the practical application of his research while teaching young adults with [[Special education|special educational needs]], including those with [[physical disabilities|physical]], [[Learning disability|learning]], and [[Developmental disabilities|developmental]] disabilities, who could not articulate [[Phonation|vocal sounds]] into intelligible speech, some of whom were members of [[Libra Theatre Company]]. By [[music]]alizing their voices, and producing [[devised theatre]] productions in which his clients performed vocally but not verbally, Newham was able to facilitate their experience of [[Communication|communicating]] to an audience through expressive use of the voice, which was uninhibited despite insurmountable restrictions to verbal communication. Newham alleged that this experience elicited a [[therapeutic effect]] for participants.<ref>Totton, N., Body Psychotherapy: An Introduction. Columbus, OH, USA: McGraw-Hill Education, 2003.</ref><ref>Benjamin, A., Making an entrance: theory and practice for disabled and non-disabled dancers. London, UK and New York, USA: Routledge, 2013.</ref> |
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When some clinical and educational professionals commissioned to care for his disabled clientele began participating in these therapeutic projects for their own benefit, Newham sought to discover whether his techniques might be transferable from special needs education and adapted for clients of psychotherapy.<ref>Fast, S. and Pegley, K. (Eds.), Music, Politics, and Violence. Middletown, CT, USA: Wesleyan University Press, 2012.</ref><ref>Postma, R. L., Freeways and free speech, rail cars and rancheras: Geographic and linguistic mobility in contemporary Mexican and Mexican-American cultural production. Lawrence, KS, USA: University of Kansas, 2011.</ref><ref> Mdena, L., Mapping the past, present and future: an analysis of how integration through the body can 'speak' to the issue of bullying. Johannesburg, South Africa: University of the Witwatersrand, 2016.</ref> |
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===Psychotherapy=== |
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Beginning with the professionals who cared for his special education students, Newham worked therapeutically with adults who, though neither physically disabled nor inhibited by a [[Communication disorder|communication disorder]], were distressed by a quality of [[psychological pain|psychological pain]] that they identified as beyond words. Many of them reported persistent symptoms of [[Psychological trauma|psychological trauma]], often attributing their cause to events experienced during [[Childhood trauma|childhood]], including [[Child sexual abuse|sexual]], [[Physical abuse|physical]], and [[Verbal abuse|verbal]] abuse, which they found difficult or impossible to adequately describe verbally.<ref> Overland, G., Voice and trauma. ReVision, Vol. 27, No. 3, 2005, pp26–32.</ref><ref> Klein-Kiriţescu, L. A. M., Experiential innovations through voice therapy: A case study. Journal of Experiential Psychotherapy, Vol. 16, No. 3, 2013, pp10–14.</ref><ref>Turner, B. J., Austin, S. B. and Chapman, A. L., Treating nonsuicidal self-injury: a systematic review of psychological and pharmacological interventions. The Canadian Journal of Psychiatry, Vol. 59, No. 11, 2014 pp576–585.</ref> |
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In response, Newham developed a framework of techniques that helped his clients communicate the subjective nature of their experience through artistic activity, combining [[dance|expressive movement]], [[song|vocal music]], [[drama]], and the [[recitation]] of [[creative writing]].<ref> Martin S., Martin G., Lequertier B., Swannell S. and Follent A., Voice movement therapy: evaluation of a group-based expressive arts therapy for nonsuicidal self-injury in young adults. Music and Medicine, Vol. 5, No. 1, 2013, pp31–38.</ref><ref> Baker, F. and Uhlig, S., Voicework in Music Therapy: Research and Practice. London, UK: Jessica Kingsley Publishers, 2001.</ref> |
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===Analytical psychology=== |
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Newham aligned his initial approach to psychotherapy with the principles of analytical psychology developed by Swiss psychiatrist and psychoanalyst Carl Jung, who had previously inspired Alfred Wolfsohn.<ref>Papadopoulos, R. K., The Handbook of Jungian Psychology: Theory, Practice and Applications. London, UK and New York, USA: Routledge, 2006.</ref> Newham specifically encouraged his clients to use vocal sound as the medium through which to engage what Jung called ‘[[active imagination]]’.<ref>Kittelson, M. L., Sounding the Soul: Listening to the Psyche. Einsiedeln, Switzerland: Daimon Verlag, 1996.</ref> |
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As evolved by Jung, active imagination is a meditative technique comparable to daydreaming, by which patients evoke a sequence of [[mental image | mental images]], without deliberately influencing their nature, while describing them to an analyst. In so doing, Jung urged patients not to avoid unpleasant imagery, indicative of what he called the ‘shadow’, comprising characteristics of their personality that clients perceived as negative and undesirable.<ref>Hoerni, U., Fischer, T., Kaufmann, B. (Eds.), The Art of C.G. Jung. London, UK: W. W. Norton & Company, 2019.</ref><ref>Jacobi, J., The Psychology of C. G. Jung. London, UK and New York, USA: Routledge, 1973.</ref> |
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Newham developed this technique by enabling his clients to vocalise mental imagery through a broad range of sounds, including those they perceived as cacophonous and abhorrent, which he interpreted as expressions of their shadow.<ref>Lewis, R., Homo fuge: Developing the physio-vocal concept of Voice Theatre Lab’s early productions (2007–2010). International Journal of Practice-Based Humanities, Vol. 2, No. 1, December 2016, pp1–17.</ref> |
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===Developmental psychology=== |
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While working psychotherapeutically with adults, Newham discovered that many of them had vivid memories of their mothers' voices, which aroused intense [[Valence (psychology)|negative and positive]] [[feeling|feelings]]. He subsequently encouraged his clients to express these feelings through non–verbal sounds of crying and calling.<ref> Wermke, K. and Werne, M., Musical elements in human infants’ cries: in the beginning is the melody. Musicae Scientiae, Special Issue, 2009, pp151–175.</ref><ref>Austin, D., The Theory and Practice of Vocal Psychotherapy: Songs of the Self. London, UK: Jessica Kingsley Publishers, 2009. </ref><ref>Dolphin, M., Frozen in headlights. In Dolphin, M., Byers, A., Goldsmith, A. and Jones, R. (Eds.), Psychodynamic Art Therapy Practice with People on the Autistic Spectrum. London, UK and New York, USA: Routledge, 2013, pp19–33.</ref> |
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Newham concurred with theories drawn from [[psychoanalysis]] and [[developmental psychology]], which propose that verbal and non-verbal components of maternal vocal communication contribute to the process of [[maternal bond|bonding]] between a mother and her baby, and influence the quality of [[attachment theory|attachment]] to her that the infant develops.<ref>Rosolato, G., La voix: entre corps et langage. Revue Francaise de Psychanalyse, Vol. 37, No. 1, 1974, pp75–94</ref><ref>Silverman, K., The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington, IN, USA: Indiana University Press, 1988.</ref><ref> Anzieu, D., The Skin Ego. New Haven, CT, USA: Yale University Press, 1989.</ref> |
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He further developed a framework of practical techniques, enabling clients in [[Group_psychotherapy|group therapy]] to recreate this communication, and subject their enactments to analysis.<ref>Rinta, T. E. and Welch, G. F., Perceptual connections between prepubertal children's voices in their speaking behavior and their singing behavior. Journal of Voice, Vol. 23, No. 6, 2009, pp677–686.</ref><ref>Austin, D., Vocal improvisation in analytically oriented music therapy with adults. In Wigram, T. and De Backer, J. (Eds.), Clinical Applications of Music Therapy in Psychiatry, pp141–157. London, UK: Jessica Kingsley Publishers, 1999.</ref><ref>Picó-Vila, D., The voice in psychotherapy. New Gestalt Voices, Vol. 2, January 2018, pp21–32.</ref> |
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===Cognitive and humanistic psychology=== |
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Newham analysed two forms of communication used by his clients: the [[interpersonal communication]] through which they vocalised aloud and listened to the voices of others, and the [[intrapersonal communication]] with which they conversed silently with themselves. He subsequently adopted a hypothesis integral to psychotherapy, which proposes that intrapersonal [[Internal monologue|inner dialogues]] express the characteristics and perspectives of diverse [[subpersonality|subpersonalities]] and [[Future_self#Possible_selves|possible selves]].<ref>Natan, E., The voice of dramatherapy: fragments of voice work with a group of dramatherapists according to the Sesame approach. Dramatherapy, Vol. 33, No. 1, 2011, pp28–44.</ref><ref>Lalonde, G. A., Singing for identity, relationship, wellbeing, and strength: Three francophone girls negotiate adolescence, gender, and minority identity. Saskatoon, SK, Canada: University of Saskatchewan, 2009.</ref> |
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In [[humanistic psychology]], subpersonalities are temporary constellations of behaviours that enable someone to cope with transient [[psychosocial]] demands.<ref> Fall, K. A., Theoretical Models of Counseling and Psychotherapy. London, UK and New York, USA: Routledge, 2010.</ref><ref> Rowan, J., Subpersonalities: The People Inside Us. London, UK: Routlege, 1990. </ref><ref>Lester, D., Theories of Personality: A Systems Approach. London, UK and New York, USA: Routledge, 2019.</ref> Meanwhile, in [[cognitive psychology]], possible selves are [[Schema (psychology)|psychological schema]] representing multiple alternative versions of [[self concept|the self]], encompassing past and future selves that characterise regrets, doubts, hopes, worries, and fantasies about who we may have been previously and who we may become.<ref>Dunkel, C. and Kerpelman, J., Possible Selves: Theory, Research and Applications. Hauppauge, New York, USA: Nova Science Publishers, 2006.</ref><ref>Baumeister, R. F. (Ed.), The Self in Social Psychology. Philadelphia, PA, USA: Taylor & Francis, 1999.</ref> Identifying and verbally discussing their possible selves with a therapist is one strategy by which clients pursue positive cognitive, emotional, and behavioural change in psychotherapy.<ref>Dunkel, C. S. and Kelts, D., Possible Selves as Mechanisms of Change in Therapy. In Dunkel, C. S. and Kerpelman, J. (Eds.), Possible Selves: Theory, Research and Applications. Hauppauge, New York, USA: Nova Science Publishers, 2006, pp187–204.</ref> |
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Newham's contribution to this field consists of practical techniques by which an individual may identify discreet intrapersonal inner voices, attribute them to specific subpersonalities or possible selves, and express them through artistic mediums, in order to subsequently interpret their significance.<ref>Casson, J., Drama, Psychotherapy and Psychosis: Dramatherapy and Psychodrama with People who Hear Voices. London, UK and New York, USA: Routledge, 2004.</ref><ref>Okoth, Z. A., The use of drama therapy in unlocking the voices of survivors of female genital mutilation among the Kenyan Maasai. Nairobi, Kenya: Kenyatta University.</ref><ref>Klein-Kiriţescu, L. A. M., Experiential innovations through voice therapy: A case study. Journal of Experiential Psychotherapy, Vol 16, No. 3, September 2013, pp10–14.</ref> |
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===Expressive therapies=== |
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[[File:Paul_Newham_Expressive_Therapy.jpg|240px|thumb|left|alt=British psychotherapist Paul Newham conducting an expressive therapy session with a client.|British psychotherapist Paul Newham conducting an expressive therapy session with a client.]] |
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While working with traumatised adults, Newham observed that although his clients struggled to communicate distressing thoughts and feelings with spoken dialogue, they were readily able to express themselves through the process of creating and reciting vocal art forms, such as song and poetry.<ref>Rattner, J., Compose: Singing as a depth modality in the treatment of trauma. Carpinteria, CA, USA: Pacifica Graduate Institute, 2012.</ref> In developing techniques to facilitate this opportunity, Newham situated his work within the paradigm of expressive therapies, which use mediums of artistic creativity to investigate characteristics of subjective experience.<ref>Hall, S., An exploration of the therapeutic potential of song in dramatherapy. Dramatherapy, Vol. 27, No. 1, 2005, pp13–18.</ref><ref>Baker, F., and Uhlig, S., Voicework in Music Therapy: Research and Practice. London:, UK: Jessica Kingsley Publishers, 2001.</ref><ref>Rust-D'Eye, A. D., The sounds of the self: voice and emotion in dance movement therapy. Body, Movement and Dance in Psychotherapy, Vol. 8, No. 2, 2013, pp95–107.</ref> |
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Newham began his work in the expressive therapies by facilitating the use of dramatic [[characterization|characterisations]], through which his clients could express and explore aspects of their [[self-image]] and [[personal identity]]; and he observed that this often precipitated the expression of intense feelings. He therefore evolved techniques that helped his clients sustain these feelings without becoming overwhelmed.<ref>Davis, C. B., Reading the ventriloquist's lips: The performance genre behind the metaphor. TDR/The Drama Review, Vol. 42, No. 4, 1998, pp133–156.</ref><ref>Houseman, B., Voice and the release and exploration of emotion and thought (from a theatre perspective). Dramatherapy, Vol. 16, Nos. 2–3, 1994, pp25–27.</ref><ref>Lindberg, S., When voices abandon words: sounding the depths of the preverbal. Voice and Speech Review, Vol. 4, No. 1, 2005, pp299–318.</ref><ref>Giusti, E. and Passalacqua, L., Guarire con le arti drammatiche. Psicoterapia e counselling Vol. 71. Rome, Italy: Sovera Edizioni, 2008.</ref> This endeavour has been compared to the vocal experiments conducted by Polish theatre director [[Jerzy Grotowski]], which aims to free the psychological and physical inhibitors of vocal expression.<ref>Bonde, L. O. and Wigram, T., A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training. London, UK: Jessica Kingsley Publishers, 2002.</ref><ref>Bonenfant, Y., Towards a politics of felt pulsation: De-disciplining voice and movement in the making of a musi-dance performance. Studies in Theatre and Performance, Vol. 28, No. 1, 2007, pp39–58.</ref><ref>Abdul-Rahim, R., An exploration of the place and function of voice in the drama therapeutic process. Montreal, Quebec, Canada: Concordia University, 2006.</ref> |
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Newham discovered that musicalizing the monologues recited by his clients made a significant contribution to the process of simultaneously expressing and [[emotional self-regulation|regulating]] their associated feelings.<ref>Austin, D., In search of the self: The use of vocal holding techniques with adults traumatized as children. Music Therapy Perspectives, Vol. 19, No. 1, 2001, pp22–30.</ref><ref>Kreitler, S., Oppenheim, D. and Segev‐Shoham, E., Fantasy, art therapies, and other expressive and creative psychosocial interventions. In Kreitler, S., Ben‐Arush, M. W. and Martin, A. (Eds.), Paediatric Psycho-Oncology: Psychosocial Aspects and Clinical Interventions, Hoboken, New Jersey, USA: Wiley and Sons, 2012, pp143–159</ref><ref>Lerner, N., and Straus, J., Sounding off: Theorizing Disability in Music. London, UK and New York, USA: Routledge, 2006.</ref><ref>Baker, F., and Wigram, T., Finding climax and cadence in the uninflected voice. Music Therapy Perspectives, Vol. 22 No. 1, 2004, pp4–10.</ref> Subsequently, he developed techniques to facilitate his clients in translating their experience into songs that narrated disturbing [[autobiographical memory|memories]]. To further elaborate an artistic framework for the expression of emotionally intense personal experience, Newham enabled his clients to choreograph authentic movements, which accompanied their recitals of songs and monologues.<ref>Iliya, Y., A., Singing for healing and hope: music therapy methods that use the voice with individuals who are homeless and mentally ill. Music Therapy Perspectives, Vol. 29, No. 1, 2011, pp14–22.</ref><ref>Van der Walt, M. and Baron, A., The role of music therapy in the treatment of a girl with pervasive refusal syndrome: exploring approaches to empowerment. Australian Journal of Music Therapy, Vol. 17, 2006, pp35–53.</ref><ref>Rootberg, R., Moving towards vocal center: integrating Laban movement analysis and Bartenieff fundamentals with a Linklater vocal warm-up. Voice and Speech Review, Vol. 1, No. 1, 2000, pp291–313.</ref><ref>Kuipers, G., The use of vocalization in dance movement therapy: exploring the how and why of the use of voice through vocalization by clients in dance movement therapy in adult psychiatry. Rotterdam, NL: Codarts University for the Arts, 2009.</ref> |
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===Arts and arts based research=== |
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Newham's approach to therapeutic facilitation is cited as an example of [[art-based research]], which is the systematic use of the artistic process as a primary way of examining and understanding human experience.<ref>Knowles, J. G. and Cole, A. L. (Eds.), Handbook of the Arts in Qualitative Research: Perspectives, Methodologies, Examples, and Issues. Thousand Oaks, CA, USA: Sage Publications, 2008.</ref><ref> McNiff, S., Art–Based Research. London, UK: Jessica Kingsley Publishers, 1998.</ref><ref> Haberlin, S., Using arts-based research to explore peak experiences in five gifted children. International Journal of Education and the Arts, Vol. 18, No. 24, 2017, pp1–21.</ref> |
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Newham has also presented and produced a range of live and recorded arts performances. His live works include the score for the production ''House of Bones'', produced by [[Motionhouse]], about 'the plight of the [[scapegoat]] and those isolated by prejudice, ignorance and difference'.<ref>WorldCat Entry: 'House of Bones: Extracts from a Dance Performance by Motionhouse'. [http://www.worldcat.org/title/house-of-bones-extracts-from-a-dance-performance-by-motionhouse/oclc/221771117 WorldCat Entry] Retrieved 28 September 2015.</ref> Meanwhile, his recorded works employ the principles of [[Music_therapy#Receptive|receptive music therapy]] in combining sound, speech, and music to which recipients listen with intent to experience a subsequent beneficial [[human body|physical]], [[Psychology|psychological]], or [[Social relation|social]] effect.<ref>Bruscia, K., Defining Music Therapy. Barcelona, Spain: Barcelona Publishers, 1998.</ref><ref>Grocke, D. and Wigram, T., Receptive Methods in Music Therapy: Techniques and Clinical Applications for Music Therapy Clinicians, Educators, and Students. London, England: Jessica Kingsley, 2007.</ref> |
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==Influence and contribution== |
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The techniques developed by Newham have been incorporated into professional practice by a diverse range of health practitioners that include psychologists, psychotherapists, speech and language therapists, drama therapists, music therapists, and dance movement therapists.<ref>Lerner, N. and Straus, J., Sounding off: Theorizing Disability in Music. London, UK and New York, USA: Routledge, 2006.</ref><ref>Iliya, Y. A., Singing for healing and hope: music therapy methods that use the voice with individuals who are homeless and mentally ill. Music Therapy Perspectives, Vol. 29, No. 1, 2011, pp14–22.</ref><ref>Baker, F. and Wigram, T., Finding climax and cadence in the uninflected voice. Music Therapy Perspectives, Vol. 22, No. 1, 2004, pp4–10.</ref><ref>Van der Walt, M. and Baron, A., The role of music therapy in the treatment of a girl with pervasive refusal syndrome: exploring approaches to empowerment. Australian Journal of Music Therapy, Vol. 17, 2006, pp35–53.</ref> He is particularly recognised as a pioneer for his contribution to the expressive therapies.<ref>McNiff, S., Integrating the Arts in Therapy: History, Theory, and Practice. Springfield, IL, USA: Charles C. Thomas Publishers, 2009.</ref><ref>Karpf, A., The human voice: The story of a remarkable talent. London, UK: Bloomsbury Publishing, 2011. </ref> |
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==Selected publications== |
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===Books=== |
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{{Cite book |
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| last = Newham |
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| first = Paul |
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| author-link =Paul Newham |
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| title = Using Voice and Theatre in Therapy |
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| publisher = Jessica Kingsley |
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| isbn = 978-1853025914 |
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| location = London |
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| date = 1999 |
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}} |
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{{Cite book |
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| last = Newham |
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| first = Paul |
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| author-link =Paul Newham |
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| title = Using Voice and Movement in Therapy |
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| publisher = Jessica Kingsley |
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| isbn = 978-1853025921 |
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| location = London |
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| date = 1999 |
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}} |
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{{Cite book |
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| last = Newham |
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| first = Paul |
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| author-link =Paul Newham |
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| title = Using Voice and Song in Therapy |
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| publisher = Jessica Kingsley |
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| isbn = 978-1853025907 |
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| location = London |
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| date = 1999 |
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}} |
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{{Cite book |
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| last = Newham |
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| first = Paul |
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| author-link =Paul Newham |
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| title = Therapeutic Voicework |
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| publisher = Jessica Kingsley |
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| isbn = 978-1853023613 |
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| location = London |
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| date = 1998 |
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}} |
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===Articles=== |
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{{cite journal |
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| last =Newham |
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| first =Paul |
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| author-link =Paul Newham |
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| date=1992 |
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| title =Jung and Alfred Wolfsohn: Analytical psychology and the singing voice |
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| journal =Journal of Analytical Psychology |
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| volume =37 |
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| issue =3 |
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| pages =323–336 |
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| doi =10.1111/j.1465-5922.1992.00323.x }} |
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{{cite journal |
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| last =Newham |
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| first =Paul |
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| author-link =Paul Newham |
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| date=1992 |
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| title =The psychology of voice and the founding of the Roy Hart theatre |
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| journal =New Theatre Quarterly |
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| volume =9 |
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| issue =33 |
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| pages =59–65 |
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| doi =10.1017/S0266464X00007478}} |
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{{cite journal |
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| last =Newham |
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| first =Paul |
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| author-link=Paul Newham |
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| date=1994 |
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| title=Voice Movement Therapy: Towards an arts therapy for voice |
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| journal=Dramatherapy |
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| volume=16 |
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| issue=2–3 |
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| pages=28–33 |
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| doi=10.1080/02630672.1994.9689382| s2cid =143754636 |
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}} |
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{{cite journal |
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| last=Newham |
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| first=Paul |
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| author-link=Paul Newham |
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| date=1995–96 |
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| title=Making a song and dance: the musical voice of language |
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| journal=Journal of the Imagination in Learning |
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| volume=3 |
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| issue=1 |
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| pages =66–74 |
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|issn=1071-6157}} |
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{{cite journal |
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| last =Newham |
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| first =Paul |
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| author-link =Paul Newham |
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| date=1992 |
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| title =Singing and psyche: towards voice movement therapy |
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| journal =Voice: Journal of the British Voice Association |
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| volume =1 |
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| issue =1 |
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| pages =75–102}} |
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==References== |
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{{Reflist|30em}} |
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==External links== |
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*[https://www.paulnewham.com Paul Newham Website] |
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{{Authority control}} |
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{{DEFAULTSORT:Newham, P.}} |
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[[Category:1962 births]] |
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[[Category:Auditory scientists]] |
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[[Category:British psychotherapists]] |
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[[Category:Cognitive musicology]] |
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[[Category:Living people]] |
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[[Category:Donor conceived people]] |
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