Great Essays

Great Essays Great Essays Great Essays Great essays are not easy to write, but if you are interested in the topic and if you feel inspired, you have no barriers to creating great essays.   Read the following sample of great essay.   It is well-written and will definitely gain your attention. If you have an academic assignment to write the great essay, feel free to request our custom essay writing service at any time. Our writers are working 24/7 without weekends to lend you a hand of help with any essay writing. Great Essays Sample The most important of parental allies was the nurse. It was the almost unanimous opinion of churchmen, doctors, and moralists from Erasmus on that mothers ought to breastfeed their own infants. Some theologians even tried to suggest that a failure to do so should be regarded as a mortal sin. At the same time, these writers would reluctantly add some words of advice on how to choose a nurse, a last-minute concession indicating that the practice was far too strongly entrenched in the mores of the period to be dislodged by the exhortations of a few intellectuals. In this respect, Rousseau, who has always been regarded as the revolutionary champion of maternal breastfeeding, was no less sensitive to custom than his predecessors, and his passionate appeal to mothers was followed by some sober recommendations for selecting a nurse, and even a touch of lyricism on the joys of nursing in the fresh air of the countryside. In this section, I describe the deeply rooted practice of employing nur ses, and explore some of the possible reasons for their participation in family life. The first point to note about the nurse is her poverty. "All the women who hire themselves out as nurses are peasants or women of mean estate." By contrast, the family which employed her necessarily belonged to a relatively affluent class. FranÃÆ' §ois Mauriceau noted that poor people did not even have the means to hire a nurse for the first week of the baby's life, during which time he believed the mother's own milk was not good for the infant. These women would have to breastfeed their children themselves right from the beginning. There was no possibility of help even for a brief period. He went on to single out among the people who engaged nurses "all the women of quality and a majority of the bourgeoisie." The relationship of the nurse to her employers varied with circumstances. The woman might be a long-term domestic of the parents, perhaps the nurse of earlier children from the same family. In many cases, however, she was a stranger. In Paris, placement bureaus arranged connections between nurses and families interested in doing business. Many writers deplored the frequent failure of mothers to investigate the character of the women they were choosing to feed their offspring. In spite of the doctors' urgings, this choice was often not made in advance of the birth. Where details are given, the parents, even those who seem especially thoughtful and attentive to the welfare of their children, contracted with the nurse after the baby had been delivered. Sometimes the father of the infant gave the money directly to the nurse's husband. Great Essays Writing Service What is the first step of great essays writing?   Writing an essay, you should pay attention to the format and flow of ideas.   If you cannot afford spending hours of your time in libraries, order professional customized writing assistance at our site.   Our writers are able to impress you with custom written essays!   Our prices are impressively low while the quality of written essays is unquestionably high. is a trusted and reliable online service.

Rubric for nursing Theorist Teaching project Essay

Rubric for nursing Theorist Teaching project - Essay Example Kolcaba defines several levels of comfort that appear for patients over time. She defines three forms of comfort and four contexts where patients will find comfort. The three levels she defines are â€Å"relief, ease and transcendence† (March &McCormack, 2009, p. 76-77). The first level of comfort, relief, happens when a patient is provided with what they need when they are in pain. The patient will move to the ease level when they find out that not only are they having relief from pain, but this relief is continuing over time because of the way that they have relieved the pain. The patient will move to the transcendence phase, when they are able to move past the challenges they have and life a fulfilling life (Kolcaba, 2011). Kolcaba saw that these phases were appearing in much of the literature she was reading on the subject and she began to formulate her theory. When developing a theory, it is important to know what has come before the theory that one hopes to present (March &McCormack, 2009). Kolcaba began to write about the three levels of comfort that she had identified and realized that there was an important messages to nurses about these stages. As an example, nurses are supposed to be the ones who provide comfort for the patients in a holistic way; her theory looks at the patient in a holistic way by providing comfort on the physical, emotional and psychosocial levels. Her theory recognizes that each individual has their own need for comfort and there are many different interventions that are needed in these situations (Kolcaba and Kolcaba, 1991). According to Kolcaba (2011) there are four dimensions to the theory. The first dimension describes nursing as the process of interviewing the client about their comfort needs. In this phase, the patient is provided with interventions and then the nurses check the patient’s comfort level on a regular basis. The second dimension defines the optimal health of the

Bruno in the East Village Essay Example | Topics and Well Written Essays - 250 words

Bruno in the East Village - Essay Example The people have the power to dictate the progress and operations of a restaurant as in the case of Bruno. I totally agree with that view as the people who visit the restaurants can determine its present challenges as well as enabling it to overcome them. The challenges that the restaurant faces despites its short stay is a result of their own making if what the author says is anything to go by. The poor conditions at Bruno such as uncomfortable seats marked by a long row of tables with chairs and banquettes have served to keep people away from the restaurant. The author compares the seating arrangements at the restaurant as those in the police cells and that confirms how worse the conditions are. One has to wait for a long time before their meals are served and that indicates poor customer relations. The critics who are quick to criticize all the efforts that are being undertaken by the restaurant in an effort to improve their services should not do so in haste. The restaurant should be given time to adjust to new conditions before they begin to receive negative responses from bloggers, critics, and competitors. I firmly agree that some restaurants just like other businesses are successful in making their advertisement very alluring and catchy to the eyes of the public but very little to show for it when one visits the actual places. The things that a firm shows to the public should not be very different from the actual events within their premises.

Ongkas Big Moka Essay Example for Free

Ongkas Big Moka Essay Ongka is a prominent leader of the tribe Kawelka in Highland Papua, New Guinea. This video is about his experiences giving a Moka (or gift) to someone for fame and stature. This video took place in a small tribe that uses pigs as currency for everything. You need pigs to get a wife, to have children, and also for investments. Ongka became a prominent leader there due to his huge ability to give away his pigs to other people. He did it not for monetary currency, but the ability of giving away things there are a sign of fame and is look at with great respect. This tribe does not use wealth or fashion (as we do in the U.S) to become famous and well known, whoever gives away the most is the celebrity of this tribe. Ongka had given away plenty in the past, but he wanted to give the biggest moka of all time. Ongka has five wives and nine children that help him take care of the pigs and birds before he gives them away during the big moka give away. The tribe holds special ceremonies to give away mokas to their neighboring tribes. The dress is formal though, feathers on their heads and leaves on their bodies as well as face paint on their faces. Also, females in this tribe are topless and it is actually common to not wear clothing. Ongka wore clothes throughout this whole video except during the ceremonies, I am guessing due to his stature in the tribe it was okay. Ongka manage to receive help from a few others in his tribe, by convincing them that when he gives the moka they would get some prestige as well. The plot arose when someone died in an enemy tribe, and they believe when someone dies in a certain weight range then he must have been murdered by sorcery. Ongka had to step in as the mediator and representative for his tribe, and give the tribe a pig and a special branch use for oath taking to convey his honesty that his tribe had nothing to do with the sorcery. While giving away his mokas, Ongka’s rival Rhyma announced that it was his group that killed the man from their enemy tribe. Rhyma did not really kill the man he just wanted to stir up drama on Ongka’s big day. The announcement cancelled the ceremony, and the enemy tribe tried to kill Rhyma, but could not find him. Ongka had to become the peacemaker and try to convince the enemy tribe not to go to war with their tribe. Two weeks later everything cool down, and Ongka was able to carry on with his ceremony. Ongka Big Moka is a great video describing the traditions and scenarios that an individual go through on a daily basis to obtain power. This really opened my mind to how similar our country is to theirs. My ethnocentric thoughts at the beginning of the movie when I saw how the way they dress completely changed at the end of the video. I realized that I should not judge any culture by my own social cultural standards. The people of this tribe seem like they are happy with their lifestyles. Our countries are very similar they might not use their wealth and celebrity to obtain power, but they use giving gifts to others to achieved power. Overall I would recommend this video to anyone who are really intrigue with other cultures and want to see Ongka humorous shirt.

The Meaning of What Are Years? by Marianne Moore :: Poems, Poetry Analysis

In the poem â€Å"What Are Years?†, Moore clearly expresses her perception of life. Moore states that no one can truly understand the nature of their guilt or innocence. Everyone is â€Å"naked† to the dangers of existence. Moore defines courage as â€Å"resolute doubt,† having the ability, or the the "strength of spirit", to keep going even when defeated. To be strong, one must accept their own mortality. One must accept the reality of death and yet keep fighting to live. Although we are all imprisoned in a world of mortality, we must fight every day to give meaning to our life. We must live as if we were never going to die! Moore begins the last stanza with an ambiguous â€Å"So†. Although one has a heightened awareness of mortality, one â€Å"behaves,† one keeps the ego disciplined. This is the same concept as that of the caged bird who, though held captive in a cruelly small space, continues to sing with all his heart. Despite the bird's lack of â€Å"satisfaction† because of his loss of flight and freedom, he knows â€Å"joy†.

Magnifying and Obscuring Essay

The stories of John Updike’s â€Å"A&P† and William Faulkner’s â€Å"A Rose for Emily† both make use of the first person point of view in narration but with very different and quite powerful effects that also affect other elements of the story. The ways in which these two stories play with the individual elements of a piece of fiction show just how important it is to make sure that these individual elements are all taken cared of and built-up with equal care and attention, because a problem with one element can result into a problem with the entire story; the elements must all be able to work together to support each other and to weave a tight story. â€Å"A&P† uses the first person, non-omniscient, singular point of view (POV) narration to build rapport with the main character, Sammy [for example: â€Å"I’m in the third check-out slot, with my back to the door, so I don’t see them until they’re over by the bread; I could see Lengel in my place in the slot, checking the sheep through. † (Updike 560)]. This connection with Sammy is a very important one because it is pretty much the driving force of the story; learning of what’s going on in a teenage boy’s head while there are half-naked girls walking about can make an interesting read. This point of view is really what helps push the reader on along as she or he plods through the â€Å"A&P† plot. With â€Å"A Rose for Emily†, on the other hand, we are given the first person, non-omniscient, plural point of view. Obviously, because it is plural it cannot be the view of the main character, Miss Emily Grierson. Instead we seem to have the entire story narrated to us by the entire town [â€Å"When Miss Emily Grierson died, our whole town went to her funeral; for a long while we just stood there, looking down at the profound and fleshless grin† (Faulkner)]. This works to increase the mystery that surrounds Miss Emily and her house because we never really knew what she is thinking or feeling. This point of view, giving an air of mystery, again, helps push the reader on to discover what happens throughout the story. Relating with the use of the POV are the different story plots. Here, we can see a great difference between â€Å"A&P† and â€Å"A Rose for Emily† because we find that one is mainly character-driven while the other has a strong plot that keeps the readers going through the story. It is â€Å"A&P† that is, obviously, character-driven because of its simple plot of a boy wanting to elicit the attention of some pretty girls, which is quite common. Even the events in the story and the simple chronological way that it folds are quite ordinary; it is really Sammy – his thoughts and his feelings – that make a reader interested in the story. And, even up to the ending, readers are all interested only in Sammy’s fate and no one else’s [â€Å"I felt how hard the world was going to be to me hereafter† (Updike 564)]. In â€Å"A Rose for Emily†, on the other hand, we have a story with a strong plot, aided by the effective point of view narration, which moves the story along. The story hooks readers into the plot by making them curious about who Miss Emily Grierson is from the very beginning – readers are wondering why she is a â€Å"fallen monument† and what is so interesting about the â€Å"inside of her house† (Faulkner). The non-linear timeline that the story follows also strengthens the mystery of Miss Emily because the building block to her life must be pieced together slowly and with a certain amount of intuition, at first. Now, the characters of the two stories are also very different – one is as open to us as a book laid flat-open, while the other is mystery to the very end. With Sammy of â€Å"A&P†, we never seem to see a concrete glimpse of in terms of physical appearance but the readers would all know him if they met him. The first person narration lets us in on all the things that makes Sammy think and tick with that little grocery stop. In his observation of the girls, we find a young man with a keen eye and, also, an eye for beauty. He also shows us the ability of a good imagination when he imagines how the girls behave and how their relationships with each other must be like as when he describes the tall girl as: â€Å"a tall one, with black hair that hadn’t quite frizzed right, and one of these sunburns right across under the eyes, and a chin that was too long — you know, the kind of girl other girls think is very â€Å"striking† and â€Å"attractive† but never quite makes it, as they very well know, which is why they like her so much. † (Updike 561) Sammy, as we can surmise, is a boy that is very much in-touch with his surroundings and his imagination. The characterization of Miss Emily, in contrast, is one that is left murky and shadowy. Because we only see her through the townspeople’s eyes, we never really see her clearly; we can only watch her through the stories, the memories, and the patchwork guesses that these observers give us. But even from this blurry view of Miss Emily through a window, we can see how guarded and closed-off she is from her environment [as when she acted ignorant of Colonel Sartoris’ death (Faulkner)] – the total opposite of Sammy. In â€Å"A&P†, we are set-up in a small grocery store that effectively concentrates our attention on no one and nothing else but Sammy and his current preoccupation. The A&P grocery store acts as the perfect magnifying glass to help us focus on our main character and how he deals with the current situation. â€Å"A Rose for Emily† is set-up up throughout decades of a life and in different places of the town; this manner of a setting makes for even more mystery as the reader tries to fill in all the gaps between the years that the narrators had no contact nor any knowledge of what went on in Miss Emily’s life. The vast setting diffuses the readers’ minds and it wanders across time and space, searching for a complete picture of Miss Emily Grierson. These two stories, perhaps more different than alike, prove that good stories don’t need to follow a certain pattern to mold in order to be good; it is in the writer and the dedication to his work that makes a story count. Works Cited Faulkner, William. â€Å"A Rose For Emily. † 16 February 2008. Fu Jen University: Department of English Language and Literature. 26 June 2009 Updike, John. â€Å"A&P†. The Compact Bedford Introduction to Literature Eighth Edition. Ed.

Application of Music therapy and Psychodrama Essay

With the blooming economic growth and remarkable improvement of people’s living standard, we focus on balancing physical well-being and emotional health in our daily life. Active research and the practice of improving mental health have become one of the most studied areas of science in the 20th century. Complimentary therapies have become more established during this time to supplement the Doctor’s Prescription pad. Combined with the lack of prior education in musical therapy, recipients can access this form of treatment without barrier because of the innate capacity for human’s to appreciate musical form and the profoundness with which we all regard music. This form of therapeutic treatment therefore transcends traditional forms of medical treatment such as paediatrics and adult health as all age groups seem to take part in the musical experience irrespective of gender, ethnicity etc., which has elsewhere in medicine been attributed some special status such as the requirement in paediatrics for twice the capacity in dealing with minority groups not exceeding one-third of the populace. Looking at all therapies around us, Music Therapy comes in different methods and approaches. Music is a language of its own; it is an alternation form of expression that is different to everyday verbal language communication. There are different definitions of Music Therapy due to different research types carried out in each country. In a definition given by the American Music Therapy Association, 2005, Music Therapy is the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional who has completed an approved music therapy program. Professor K. Bruscia defined music therapy as ‘A systematic process of intervention wherein the therapist helps the client to achieve health, using musical experiences and the relationships that develop through them as dynamic forces of change.’ In my understanding of broadening this definition, Music therapy is a systematic therapy treatment program of applying music or music related experience to promote physical and mental health. Any therapy that planned to apply music as a tool, in order to achieve the purpose of promoting human physical and mental wellbeing, should belong to scope of music therapy. Psychodrama, which was developed by J. L. Moreno, is used as a form of psychotherapy. Psychodrama is an action method, participants use dramatization, role playing and dramatic self-presentation, which often includes elements of theater and uses props on a stage, to recreate real-life situation, acting them out in the present. This can also be seen as psychodramatic enactment. Participants have the opportunity to evaluate their behavior and understand better a particular situation in their lives or common experiences in life in general. Moreno encourages participants expressing their underlying needs in role playing, and thereby neutralizing their compelling influence and tendencies. Clients can use non verbal expression e.g. musical instruments, for their emotion and feeling, which helps naturally healing by this process. Music and Drama are connected historically and have strong affection on each other in many aspects. The same theatrical forms of plays and opera will have the same healing effect. They all support the development of spontaneity and uninhibited expression of emotions and feelings. It’s unusual to see the combination of music therapy and psychodrama together until the advent of this book: ‘Acting Your Inner Music: Music Therapy and Psychodrama ’by Joseph J. Moreno. The method that is used in this book is defined as music psychodrama, is a particular complementary therapy. The complementary therapy integrates music and psychodrama for participants adequately exchange between music and verbal language, to complement expression of emotion and feeling. The ensemble of music improvisation, creation, using treatments from music therapy, together with traditional psychodramatic therapy, psychodramatic enactment, is a comprehensive treatment which shows better therapeutic effect than any single treatment of the two. The Complementary therapies, which is a term used to describe therapy that combines both music therapy and psychodrama together concomitantly. The complementary therapy requires participants in groups to express their emotion by communicating effectively with both music and language. Participants don’t need to have any musical background; neither needs to know how to play any musical instruments. In another words, anyone who wants to take part in this therapy are welcome to take part in, despite age, gender, occupation and education of participants. The Musical presentation of human emotion can be expressed quite well. This brings out a new and unique treatment effect in complementary therapy. The core of music psychodrama is a psycho-dramatic musical improvisation ensemble. It’s a way of experiencing what happened and how individuals reacted to the given situation and ambient experience of music in combination with an acting format. In order for participants to ‘let go of themselves’ and enable each individual to freely express their emotion and feeling, the following stages are operated by a psychodrama director or a psychotherapist with musical background: Musical improvisation serve as warm ups; Action, Individual and group improvisation and psychodrama; collectively combined constitute a common access point to Sharing. It’s important to note that interpersonal relationships between client and therapist, or psychodrama director remain strong during the whole process; music selected for the therapy is not for leisure proposes. Therefore the director needs to have a musical background and have professional understanding of music. Director also needs to have intensive training and be familiar with the therapeutic processes, as well as build up close relationship with participants. The room that psychodrama and music therapy is taking place should be quiet and comfortable for all participants to be in and enjoy. Children should not be put into a group of adult participants, babies should not be allowed in the room. If a child cries during the therapy, the sound of crying may tune with high pitch together with the therapeutic music. This could results unnecessary tension and upset and bought to participants, having negative emotions. * Warm ups A group of five or five participants are formed either by volunteering or selected by a Director. Each individual is asked to select a musical instrument and then to play a solo improvisation on their instrument, expressing their feeling at the moment or overall life situation. All solo improvisation is recorded and played back for participants to discuss and analyse. This is an effective projective technique. Emotions and personalities of individuals can be simply revealed by sounds projected through the instrumentation. Group music improvisation is another technique that helps the warm up of musical psychodrama. The principle is similar to individual improvisation. But this technique would emphasize emotions of members towards others in the group. During the orchestrated performance by phychodrama director or a musical therapiest, group members would emphasize their intragroup communication, responsiveness and rapport building of each member. For example, some would be the person who takes the leads in the group; some would be supporting and coordinating the group; some would immerse in their own performance; therapist can observe individual reactions to the other’s real behaviour rather than merely listen to verbal description by them. Involvement in and exposure to these experiences would help participants emerging musical imagery and emotional expression to the next stage of therapy, the musical psychodrama. * Action Protagonist selection of psychodrama is complete by discussion and identification of distinctive sounds of their instruments. During the action of psychodrama on the stage, protagonists need to move from one character to another character by swapping their situations, which means move himself into another person’s situation, and learn and action to the other person’s mind. The protagonist is living in another person’s life. When verbal expression is not clear enough to express by the protagonist, music or instrument can be selected by participants to better express their feelings. For example, participant may select a drum, which is a very powerful and dynamic instrument. The participant can play the drum in a very dominant and aggressive manner; it would easily affect the group feeling and continuously move the whole group to a stronger sharp and dynamic level. This might also create conflict between group members. The other group members may also use their instruments to change the aggressive behaviour of this participant with drum. In normal verbal communication, people who are involved in the communication also move with rhythmic synchronicity with speaker. If someone wants to pass their opposite opinion or thoughts to a listener in a soft, slow and gentle tone, listener will tend to be easier to accept their opposite idea than someone speak in a fast and commanding voice. Music has the same effect on people in affecting people’s emotion and feelings. By playing soft and sad music, this music is responsiveness to the drum player. Every nuance gives a continue reaction to drum player’s feeling. The drum player would be able to verbalise the different feelings, the subliminally hearing helps him to fell and benefit from the group support that the music which is played by other members of the group. Music psychodrama can be seen as a real life. The protagonist will be in different relationships and situations, for example, accepting a death from a beloved one, or giving up part of his life. It takes great courage to release part of ego. Communication through music in the improvisation may sometimes work better and more effectively than verbal communication. Musical mirroring is an auxiliary technique to mirror the progatonist’s behaviour or style of interaction by a selection of an appropriate musical instrument and improvise musical statement. The advantage of musical mirroring over verbal mirroring is helping it portray the protagonist’s essential behaviour without being mired in words. Musical modelling is a technique that suggests and influences the protagonist’s action, behave and interact through improvisational statements. The advantages are similar Musical Mirroring. Break-in and Break-out techniques are very special techniques in psychodrama. They can be very strong and effective approaches in the session for break through barriers that a protagonist holds him back in a real life situation. Break-in, protagonist may feel him being excluded from a group, feeling from outside of a group and looking in; Break-out is the reversed situation. In both these two situations, the protagonist needs to find the initiative to break the inner barriers and reconnect to the outside. Group members will surround the protagonist in a circle with locked arms; sometimes, depending on individual circumstance of protagonist, the group members will verbally taunt the protagonist and playing intensive nervous music; protagonist needs to fight his way out of this circle and break this barrier. * Sharing Sharing is an essential component in psychodrama. After the psychodrama enactment, all group members will be encouraged by director to share the feelings, thoughts in the experience both verbally and non-verbally. All members will be reassembling face to face in a circle. The purpose of this sharing is not only to help the protagonist feel less isolated; but also help the group member to find out their identification and share these identifications. Sharing in psychodrama enable the unconsciousness deep under in one’s mind to become conscious, enable all participants to find the fundamental problems in themselves. Protagonists in music psychodrama, just like performance in other types of drama, need to be engrossed and throw themselves into the performance. There are many issues that would affect the performance. For example, participants need to be in a quiet and comfortable room for all activities. They will not be disturbed by others outside the room. It’s also very important to build up confidence and trust between participants and director. The soul in musical psychodrama is the music that is selected for improvisation for participants. The director must be someone who has musical background and have well understanding of psychology. During the musical expression on stage, people who have no musical education normally do better than those who have been studied music for a long time. People who study music are more emotional and have more susceptibilities. They know how to technically control musical instruments and vocal, as well as rhythm sensation and volume. This is a limitation of applying musical psychodrama for musicians and musical students. How to use these musical techniques on these people is a subject that we can study. Certain music expression can be conveyed by the elements of music, for example, dynamic indications, differing qualities of touch and articulation, colour, intensity, energy and excitement, etc, through performance. Director needs to have certain level of appreciation of music in order to distinguish the content conveyed by participants. During the sharing, director and all participants will obtain different level of understanding. These are due to individual differences by culture, education, age, religion and life experiences. These differences would still contribute and help participants to express their emotions freely. Both music therapy and psychodrama are therapeutic approaches for participants to active their own treatment. The participants, who can be with or without prior music background and knowledge, use music, music instruments or any alternative to verbal expression, improvising their emotions and feelings in interaction with auxiliaries. Some members of the group in these involvements might be less activated with little response to surroundings. These silent participants are also absorbing and learning from the therapy in different levels, reflecting in a inner-action that also help with improving the pshchological status of participants. Music psychodrama in Mainland China Psychodrama and Music Therapy were introduced in Mainland China in the 80’s. The standard of the knowledge, skills, professionalism and application of music therapy and musical psychodrama are far from the standards of similar researches and studies in these subjects. Both forms of practices are still in the initial stage. For example, in the mid 80s, someone used the term Music Therapy in a clinic in Hunan Province and claimed that Music Therapy can treat many diseases. The so called Therapist only played some soft music for patients and used music as a medicine for treatment. This was totally misunderstood at the time due to lack of knowledge in this new psychotherapy. During 1985-1986, Beijing Anding Hospital and Beijing Hui Longguan hospital started researchs on Music therapy treatments for chronic mental disorders, Music therapy for senile melancholia; combined therapies for chronic psychosis disorders. China Association for Music Therapy was formed in 1989. In 1991, Music performance personnel stage nervous correctional and training research was produced by Zhang Hongyi. In 1999, China Conservatory of Music formed Music therapy centre for research and development in this subject. More people started to study and research for music therapy in China recent years. Music Therapy In Treatment Of The Cancer Patients is published in Chinese Mental Health Journal in 2001; Mood and Cognition in Music Therapy is a book that was published by Wu Ji-Hong and Wan Ying in 2006. Music Therapy is growing and being more and more recognised in China in recent years. Main obstacles for developments of Music Therapy in China are listed as followings: poor quality on academic researches and studies, knowledge and skills of this psychotherapy fall behind western countries; the value of academic in researches and publishes don’t have the standard compare to countries like American and the UK; there are not official publisher that focus in this subject; there are no professional bodies to evaluate and assess music therapists, neither any regulation nor laws to protect patients; lack of public awareness. Psychodrama or combination of Music and Psychodrama are less common in Chi na. People are not aware of this term and what it is involves. A small number of researches were carried out in schools and education. On School Psychodrama was published by Chen Xiaomei in Journal of Fujian Commercial College in 2006. Schools can be selected as operational bases for more researches and studied to carry out for psychodrama. Students will also benefit from different activities carried out by psychotherapist and receive good mental health education. In a research programme that was carry out in a university, 300 students were randomly selected for a mental health test. The result shows that 61 students have various degrees of psychological problems, which equals to 20.61% of candidates. The majority problems are caused by stresses come from studies, worries of employment, interpersonal relationships. This research provides a good breakthrough of applying music therapy for people of who can benefit. Localisation of Music therapy in China is the first step of development of music therapy and musical psychodrama. To develop this, musicians and therapists need to adapt to the Chinese culture and the Chinese social. A serial of arrangement need to be carried out for this localisation procedure: in an academic point of view, meetings and conferences for music therapists, psychologists, musicians, and other relevant specialists to meet up, set up a proper research area for music therapy, either as an academic discipline or therapeutic treatment. Researches then carried out to categorize music therapy to more detailed branches and select those can be better adapt in China; at the same time, establish and set up institution for this practise. Set up exams and assessment to select people who have musical and psychological expertise to become music therapists. Set up music therapy centres and clinics in hospitals and schools for people who want to participate in the theory. Establish database and update the information for people who are interested in this field. There are currently very few workshop and activity group in Mainland China. But there are some music therapy associations and workshops in Taiwan and Hong Kong. Music Therapy Association of Taiwan is formed in 1996. In 2012, GaoXiong hospitals approved to use music therapy as a form of clinical alternation treatment for patients. Hong Kong Music Therapy Centre was formed in 2008. The centre was operated by Ms Mak, an Association of Professional Music Therapists as well as qualification from Academy for Neurologic Music Therapy Academy. She’s the first music therapist in Hong Kong. Many lecturers and workshops are being held in the centre for a range of different attendants, especially youth in Hong Kong. Mainland China should learn and try to implement the development of music therapy in Taiwan and Hong Kong.