The Theory and Practice of Psychodynamic Music Psychotherapy

The Theory and Practice of Psychodynamic Music Psychotherapy is a comprehensive study of how music psychotherapy can be conceived and practiced within a psychodynamic orientation. It examines the development of music psychotherapy as it has unfolded along with the histories of psychoanalysis and modern psychiatry. Based on the pioneering works of Alvin, Priestley, Bonny, and other music psychotherapists, it presents the most recent approaches to understanding the unconscious, early development, transference, countertransference, resistance, and defenses. Current practices in music psychotherapy are conceived in terms of object relations, relational and interpersonal concepts, mentalization, music medicine, and neuropsychiatric theories. Included are musical and verbal methods, improvisation and music listening techniques, and clinical topics such as assessment, working through, and evaluation of change in the treatment of adult, adolescent, and child clients in individual and group therapy. Also considered is how these practices vary according to different client groups, including those with psychosis, personality disorders, neurosis, depression, anxiety, trauma, aging, autism, addictions, psychosomatic disorders, and physical illnesses. The book constitutes a major integrative study of the different approaches and research studies in psychodynamic music psychotherapy. It may be used as a textbook or reference by music therapists, psychotherapists, students, educators, researchers, and other mental health workers who are interested in music and the arts, and their understanding from psychoanalytic principles. 

CONTENTS

PREFACE

1.0 INTRODUCTION

2.0 HISTORY AND DEVELOPMENT OF PSYCHODYNAMIC MUSIC THERAPY

2.1 Free Improvisational Music Therapy of Juliette Alvin

2.2 Analytical Music Therapy of Mary Priestley

2.3 Guided Imagery and Music of Helen Bonny

2.4 Contemporary Music Psychotherapy Theory, Research, and Practice

3.0 CLINICAL THEORY OF MUSIC PSYCHOTHERAPY

3.1 Dynamic Unconscious Revisited: Musical Free Associations

3.2 Listening in Music Psychotherapy

3.2.1 The Analytic Attitude

3.2.2 Unconscious Communication

3.2.3 The Third Ear

3.2.4 Music as an Analytic Third

3.3 Music, Psychosexual Development, and Ego Psychology

3.4 Symbolic Understanding of Music in Psychotherapy

3.4.1 Dreams

3.4.2 Fantasies

3.4.3 Signs, Language, and Metaphors

3.5 Transference and Countertransference in Music Therapy

3.5.1 Positive Transference

3.5.2 Negative Transference

3.5.3 Here-and-Now Transference

3.5.4 Countertransference

3.5.5 Reverie

3.6 Meaning of Resistance and Defenses for a Music Psychotherapy Process

3.7 Music and Therapist as Developmental and Psychotherapeutic Objects

3.7.1 Potential Space

3.7.2 The Holding Environment

3.7.3 Music as a Transitional Object

3.7.4 Music as a Good or Bad Object

3.7.5 Music as a Selfobject

3.7.6 Music as a Transformational Object

3.8 Relational Music Psychotherapy

3.8.1 The Present Moment

3.8.2 Early Interaction and Development

3.8.3 Embodied Meaning of Music and Attachment

3.8.4 Affective Attunement with Music

3.8.5 Vitality Affects and Dynamic Forms of Music

3.9 Neuropsychiatry of Musical Relationships in Therapy

3.9.1 Music Medicine

3.9.2 Mentalization

3.9.3 Neuropsychoanalysis

4.0 CHANGE AND WORKING THROUGH IN MUSIC PSYCHOTHERAPY

4.1 The Words in Music Psychotherapy

4.1.1 Interpretation

4.1.2 Transference (Here-and-Now) Interpretations

4.1.3 Genetic Interpretations

4.1.4 Extra-Transference Interpretations

4.1.5 Transmutative Interpretations

4.1.6 Procedural and Declarative Knowing in Psychotherapy

4.2 The Music in Music Psychotherapy

4.2.1 Music as a Source of Insight

4.2.2 Music as a Portrayer of Empathy

4.2.3 Music as a Holding Environment

4.2.4 Music as a Container

4.2.5 Musical Moving Along in Therapy with a Client

4.3 The Importance of the Therapeutic Relationship

4.3.1 The Analytic Trust

4.3.2 Therapist and Client

4.3.3 Music and Client

4.3.4 The Use of an Object in a Psychotherapeutic Relationship

4.3.5 Interpersonal Music Psychotherapy

4.4 Assessment and Evaluation of Clinical Goals in Music Psychotherapy

4.4.1 Assessment Appointments and the Choosing of Methods

4.4.2 Setting Goals with Different Clients

4.4.2.1 Psychoses

4.4.2.2 Borderline Cases and Personality Disorders

4.4.2.3 Neuroses

4.4.3 Making a Treatment Contract

4.4.4 Evaluation of the Treatment and Rehabilitation

4.4.5 Working with Families

4.4.6 Negative Therapeutic Reaction

4.4.7 Writing a Statement

4.4.8 Ending the Therapy

5.0 CLINICAL APPROACHES TO MUSIC PSYCHOTHERAPY

5.1 Active and Receptive Music Therapy

5.2 Individual and Group Music Psychotherapy

5.3 Music as Psychotherapy

5.4 Music-Centered Psychotherapy

5.5 Music in Psychotherapy

5.6 Verbal Psychotherapy with Music

5.7 Training and Supervision

6.0 CLINICAL IMPROVISATION AND METHODOLOGY OF MUSIC PSYCHOTHERAPY

6.1 Free Improvisation in Music Psychotherapy

6.1.1 Point of Reference

6.1.2 Musical Mirroring: Attuning, Matching, and Reflecting

6.1.3 Media, Instruments, and Equipment

6.1.4 The Role of Playing in Music and Therapy

6.1.5 Specific Musical Improvisation Techniques and Interventions

6.1.5.1 The Splitting Technique

6.1.5.2 The Holding Technique

6.1.5.3 Imitation

6.1.5.4 Rhythmical Grounding

6.1.5.5 Synchronizing

6.1.5.6 Pacing

6.1.5.7 Doubling

6.1.5.8 Contrasting

6.1.5.9 Structuring

6.2 Songs

6.2.1 Song Performance

6.2.2 Song Improvisation

6.2.3 Induced Song Recall

6.2.4 Song Communication

6.2.5 Songwriting

6.3 Music Imaging

6.3.1 Free Association to Music

6.3.2 Projective Music Listening

6.3.3 Guided Imagery

7.0 MUSIC PSYCHOTHERAPY IN ACTION

7.1 Music Psychotherapy with Children and Adolescents

7.2 Music Psychotherapy with Adults

7.3 Specific Client Groups

7.3.1 Elderly

7.3.2 Traumas

7.3.3 Bodily Illnesses, Psychosomatics, and Eating Disorders

7.3.4 Substance Abuse and Addictions

7.3.5 Autism and Other Neuropsychiatric Disorders

7.3.6 Developmental Disabilities

8.0 MUSIC PSYCHOTHERAPY THEORY AND PRACTICE—AN OVERVIEW

REFERENCES

INDEX