Music-Centered Music Therapy

Author: Aigen, Kenneth
ISBN: 9781891278259
E-ISBN: 9781891278891

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Music-Centered Music Therapy is an ambitious and long-awaited text that sets out the basic practices and principles of approaches to music therapy that place music and musical experience in a central role. The text provides a philosophical and practical rationale for musical experience as a legitimate goal of clinical music therapy. It is comprehensive in its historical examination of music-centered thinking in music therapy and the manifestation of this way of thinking in various contemporary music therapy models. The latter part of the book develops the specifics of a particular music-centered theory that is meant to be applicable across different domains of treatment. This book is essential for readers interested in the development of theory in music therapy, for music-centered practitioners who have been searching for a vocabulary and conceptual framework in which to articulate their clinical approach, and for anyone interested in the intrinsic value of musical experience for human development. (ISBN 1-891278-25-8 $46)

Table of Contents
Dedication	v
Acknowledgments	vii
Tables	xii
Figures	xii
Preface	xv
Part I: THE CONTEXT FOR MUSIC-CENTERED THEORY IN MUSIC THERAPY	1
1. The Nature of Theory	3
2. Theory in Music Therapy	13
The Role of Theory in Contemporary Music Therapy A Conceptual Framework for Music Therapy Theory Meta-theoretical Issues in Music Therapy	13 17 28
Part II: THE NATURE OF MUSIC-CENTERED THEORY AND PRACTICE	45
3. Origins and Foundations of Music-Centered Music Therapy	47
What is Music-Centered Music Therapy and How Has it Developed? Music as a Medium: One Basis of Music-Centered Theory Musicing as the Core of Music-Centered Practice The Necessity of a Theory of Music as a Basis for Music-Centered Music Therapy Can a Notion of Music Derived from Nonclinical Contexts Be the Basis for Music Therapy?	4756 65 6869
4. Values Central to Musicing in Music-Centered Music Therapy	77
The Idea of Musical Values Musicing Requires an Understanding of Silence Musicing Requires Listening Musicing Incorporates the Individual within the Communal Musicing Involves Surrender Musicing Cultivates a Respect for Craft Musicing Creates Connection	80 82 83 85 87 88 89
5. Rationales, Practices, and Implications of Music-Centered Music Therapy	91
The Clients Experience in Music Is Primary Musical Goals Are Clinical Goals The Primary Focus is Enhancing the Clients Involvement in Music The Convergence of Personal Process and Musical Development The Intrinsic Rewards of Musical Participation The Experience of the Musical Process Is the Therapy Interventions Are Guided By Musical Properties Music as an Autonomous Clinical Force Musical Analysis Highlights Clinical Processes Therapy Can Incorporate a Focus on Performance and Products Verbal Processing Need Not AccompanyMusical Experiences The Therapeutic Relationship is a Musical Relationship Music-Centered Thinking Embraces Holism An Alternative Perspective on Generalization Generalization of Functioning is Not a Necessary Criterion for Evaluating Music Therapy	92 93 94 95 96 109 110 112 114 116 117 119 120 122 126
6. Music-Centered Thinking in Music Therapy Models	129
Analytical Music Therapy Guided Imagery and Music Nordoff-Robbins Music Therapy	130 135 142
7. Music-Centered Thinking in Contemporary Music Therapy Frameworks	151
Aesthetic Music Therapy Community Music Therapy Culture-Centered Music Therapy	152 154 156
Part III: A PHILOSOPHY OF MUSIC FOR MUSIC-CENTERED MUSIC THERAPY THEORY	161
Introduction to Part III	163
8. Music Therapy and Schema Theory	167
Introduction to Schema Theory Image Schemata in Music and Music Therapy Time-as-Space, Force, and Motion in Music Schema Theory and Areas of Benefit in Music Therapy	167 177 192 200
9. Zuckerkandls Dynamic Theory of Tone	205
Fundamental Aspects of Zuckerkandls Theory Applications to Music Therapy Objections to Zuckerkandls Ideas and Some Responses	207 210 213
10. The Status of Musical Force, Motion, and Space: Reconciling Schema Theory and Zuckerkandl	219
Revisiting Schema Theory: The Ontological Status of Schemata Reconciling Schema Theory and Zuckerkandl	221 228
Part IV: GENERAL MUSIC-CENTERED THEORY	237
Introduction to Part IV	239
11. Clinical Applications of Musical Force and Motion: Quickening and the Creation of a Self	241
12. Music and Emotion in Music-Centered Thought	255
13. Musical Form, Development, and Transformation	265
Music and the Life Force Music and Transformation	265 272
14. Melody, Container, Transition	277
The Connection Between Melody and Self-Identity Transitional Music and Transitions in Life Music and the Path of Human Life Expanding Containers as Metaphor for Therapy and for Life	277 280 285 394
Afterword References Author Index Subject Index	305 309 317 319
Tables Table 1. Some Sources of Theory in Music Therapy Table 2. Sources and Types of Theory in Music Therapy	20 24
Figures Figure 1. Diagrams of Image Schemas Figure 2. Pathways Figure 3. Containers	169 280 299
Figure 1, Diagrams of Image Schemas, from Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music by Janna Saslaw. Journal of Music Theory, Fall 1996, Volume 40, Number 2. Copyright Â© 1996. Reproduced with permission of Yale University, New Haven, Connecticut.Figure 2, Pathways, from Space, Motion, and Other Musical Metaphors by Shaugn ODonnell in Perspectives on the Grateful Dead: Critical Writings, Robert G. Weiner, Editor. Copyright Â© 1999 by Robert G. Weiner. Reproduced with permission of Greenwood Publishing Group, Inc., Westport, CT.