This is the final version of the article. Available from the publisher via the link in this record.In the United Kingdom (UK), improvisation seems to be regarded as central to, and
even defnitional of, the practice of music therapy. This article considers reasons
why improvisation might be professionally prized in this way but also turns to Tia
DeNora's (2003) notion of musical afordance to consider what in practical terms
improvisation may have to ofer within music therapy practice, focusing on two
vignettes from a mental health environment
