A temporal aspect of music therapy treatment can be observed in the improvisational sessions of Paul Nordoff and Clive Robbins. Using excerpts from ten of the children with whom they worked, four temporal phases become evident: augmented time frame, playing in synchronization, emotional time frame, and synchronization discrepancies. In addition, the related cognitive aspects lead to unfolding the child’s self across each time phase, referencing Daniel Stern’s layered self-theory and additional intersubjective music therapy approaches of Trevarthen and Trondalen.
This analysis includes practical recommendations for music therapists, along with a framework for assessing the range of temporal phases a client might experience in the course of music therapy sessions. Guidelines for possible interventions are suggested.
Preface
Introduction
1 Meeting in Time: Music, Duration, Inner Time, and Outer Time
Music & Cognition: Memory, Metaphors, and Mind-Body Simultaneity
Rationale: Why a Time Model?
A Cognitive Lens to Analyzing Improvisation: Schema Theory
2 Time Phase 1: Creating an Augmented Time Frame for the Child
Augmented Time Frames Create Musical CONTAINERS in Which the Child Can Safely Engage Musically
Augmented Time Frames Create a Learning Space for the Child to Develop a Musical Vocabulary
3 Time Phase 2: Playing in Synchronization
Moments of Synchronization Turn a Child’s Idiosyncratic Musical Expression to a Shared Musical Moment
Playing in Synchronization Enhances the Child’s Sense of Control and Regulation
Playing in Synchronization to Connect Authentically to the Music
Moments of Synchronization Increase the Child’s Qualities of Singing and Talking
4 Time Phase 3: Emotional Time
Emotional Time 1: Creating a Musical Portrait of the Child and Setting the State for a More Focused Exploration of Musical Contents
Emotional Time 2: The Art of Repetition – Introducing Musical Islands
5 Moving Between Time Phases: Leaping from One Time Phase to Another and Between Inner and Outer Experiences
Structural Bridges Support the Child’s Stepping from Emotional Time to Playing in Synchronization
Polytime Bridges Support Shifting Between Time Phases
Musical Islands Form Bridges from Inner (Emotional Time) to Playing in Synchronization
Developing in Time: From Providing an Augmented Musical Structure to Introducing an Expectation to Play in Synchronization
6 Time Phase 4: Synchronization Discrepancies
Personalized Singing and Phrasing
Negotiating over a Ritardando
Developing Temporal Freedom in a Musical Call and Response
7 Employing a Psychodynamic-Developmental Context on the Time Model
Phase 1: Augmented Time Frames Support the Child’s Emergent Sense of Self
Phase 2: Playing in Synchronization and Emotional Time Support the Consolidation of a Core Self
Phase 3: Playing in Synchronization and Synchronization Discrepancies Support the Sense of Subjective Self
8 Recommendations for Music Therapists: Implementation & Assessment of the Time Model in Music Therapy Practice
Revealing a Client’s Inner Sense of Time
Identifying Therapists’ Temporal Choices with Each Client: Therapist’s Initial Outer Time Suggestions
Identifying Suitable Temporal Invitations
Connecting Between Temporal Phases and Cognitive Capacities
Uncovering Temporal Stagnations: Seeking Temporal Solutions
Conclusion
Epilogue: Utilizing the Time Model in My Own Clinical Work
Practicing NR amid COVID Outbreak
Applying the Time Model with Little Simone
Simone Discovers UP and DOWN Through Playing in Synchronization
The Price of Online Meetings: An Inability to Facilitate Emotional Time Through Zoom
Playing in Synchronization Awakened Simone’s Motor & Verbal Abilities
References
Appendix: Short Descriptions of the Children with Whom NR Worked Who Are Included in This Work
Index
