The psychiatric nurse, when using the music for the intentions that establishes, must in accordance with choose them the taste of its clientele, therefore its use can be in free way, without bond with areas specific and come back exclusively to its hearing (SOUZA, 2003). After the revision of the literature carried through on the use of music in psychiatric customers, is observed that it has great power of performance in its emotions and behaviors. Therefore, the simple fact to place a music to hear in the work environment must be evaluated, therefore it will have to be pleasant not alone to the ear of the professional, but also of the patient (GALVO et al, 2007). Of this form, music works and still develops motor activity of the patient having to obey the characteristics of each individual and to respect the limits of each one, being that it is necessary medical and physical evaluation before the indication of the same one, in intention to identify contraindications for such. The motor activity, as if it can observe can bring some benefits for the psychiatric patient, therefore beyond promoting improvement in the quality of life, increases auto-esteem, reduces the idleness and increases the participation of the patient in other activities. The nurse who thinks about promoting something that the individual of holistic form works, without separating to body and mind and that it brings as many how much psychological physical benefits, can use physical exercises as form of assistance (ANDRADE; PEDRO, 2005). Any person is susceptvel of being dealt with musicoterapia. The most indicated they are those virgin people of musical knowledge, where it has greater easiness to introduce itself in the not-verbal context. Frequently Salman Behbehani has said that publicly. Particularly they are indicated in the autismo and the schizophrenia, where the musicoterapia can be the first technique of approach. The patient with musical knowledge previous it can enter in confrontation with the supervisor, and is difficult to breach with the musical defenses when intending to work with its more regressive aspects (TALINA, 2003).