Music as Therapy: A Dialogical Perspective

Author: Garred, Rudy
ISBN: 9781891278402
E-ISBN: 9781891278785

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There has for some years now been a debate within the field of music therapy on the issue of music-centered therapy. This book relates to this discussion and presents a contribution. The thesis that is put forward is that a dialogical perspective may serve to frame such therapy. Or, rather, for music as therapy, which is the term that is used here. Some might want to claim that there is no such thing as music as therapy, that the only real therapy there is, is some already established mode of therapy in which music plays a subordinate part, music in therapy. In this book, the attempt is to show a different picture, one which includes also the possibility of music as therapy, that is to say, therapy based on qualities of the medium itself. A particularly much-debated issue has been whether verbal processing is necessary for actual therapy to take place. This book presents and discusses some of the crucial issues involved, and develops a theory to bring out potentials of an experiential, transformative music therapy, in which verbal processing, talking cure style, is not necessarily incorporated. The models related to, and exemplified through vignettes from practice, are mostly improvisational, but the perspective drawn is applied to some extent also to other modalities, such as community-oriented practices and receptive, listening-based music therapy.2006, Paperback, 344 pages.

TABLE OF CONTENTS

PREFACE
ACKNOWLEDGEMENTS
1. FRAME AND PICTURE THE TERM MUSIC THERAPY Music-centered Therapy Analysis and Synthesis Music Problems THE NEED FOR VERBAL PROCESSING Questioning the Need to Verbalize Psychodynamically Informed Music Therapy Recent Analytical Developments DEVELOPMENT OF THEORY Early Interaction Analogy Not the same as Music New Musicology Health Musicking The Meaning of Words and of Music Clinical and Music-based Theories Community Music Therapy DIFFERENCES OF ASSUMPTIONS General Theory Recognizing and Accepting Difference Indigenous and Imported Theory Music-centered thinking Insight and Transformative Therapies Music as Therapy Philosophy, Theory, and Practice A Humanistic Foundation A Dialogical Perspective
2. DIALOGUE ORIGIN AND HISTORY OF THE CONCEPT Two Historical Phases MAIN TENETS Three Spheres Second Versus Third Person Immediacy Presence and Object The Whole Being Involved Encounter Mutuality Responsibility Actuality and Latency The Eternal You COMMENTARY Theology and Philosophy The Problem of Intersubjectivity Applications to Psychotherapy On Freuds Psychoanalysis The Debate with Jung Postmodern Themes CRITICISMS Explanation and Understanding The Constructive Role of It A WAY OF VIEWING
3. THE MUSIC THERAPY TRIAD ENCOUNTER WITH MUSIC Relating to, and Talking About The Creative Encounter The Work Acted Upon, and the Person Artistic and Musicological Objectifications THE MUSICAL WORK Other Ontologies of Music Music Embedded in Culture Music, Therapist, and Client MUSIC AS A MEANS The Logic of Means and End Playing the Piano for Some Other Purpose A Counterexample Treating Human Beings as Things Humanistic Critique of Reification Music as a Physical Object THE MUSIC THERAPY TRIANGLE An Illustrative Example: Annabel Music as a Medium A Medium for Therapy Interpersonal and Musical Relational Fields DIFFERENT SPHERES OF RELATION
4. RELATIONAL KNOWING 103 THE EARLY INTERACTION ANALOGY The Innate You Affect Attunement and Connection Dynamic Form Spoken and Heard Change Processes in Therapy IMPLICIT RELATIONAL KNOWING The Moment of Meeting Three Phases of Transition Transference Issues Minimized A Change that Happens Psychodynamic and Humanistic Interdialogue APPLICATION TO EXAMPLES FROM THE LITERATURE The Example of David The Example of Mathew Relational Change AN EXAMPLE FROM MY OWN PRACTICE: LISA A Drum-Playing Incident The Relationship Changed A Meeting Through Music
5. RELATING TO MUSIC COMING TO KNOW Getting to Know Music Change in the Relation to Music CHANGE IN THE SENSE OF SELF Peak Experience Integrating the Experience Incremental Changes Musical Transference RELATING THE INTERPERSONAL AND THE MUSICAL Playing Together Communitas Two Intercrossing Lines SUBSTITUTING WORDS WITH MUSIC Dynamic and Aesthetic Form Three Sides Interrelated, Across Two Spheres Encounter With and Through Music Music and Words
6. ROLES OF MUSIC, WAYS OF TALKING COMPARING MODELS IDEAL-TYPICALLY Creative Music Therapy Analytical Music Therapy Referential Improvisation An Active Approach Function versus Overall Change Resolving Conflict Resistiveness and Participation Musical Progression Words Facilitating Music Music Translated Music as a World The Musical Relational Field PROJECTION AND EXPRESSION A Symbolic Projection An Aesthetic Expression Beyond the Individual A Hermeneutics of Suspicion An Example of Priestleys Reading the Client through Dynamic Form VERBALIZATION REQUIREMENT On the Possible Integration of the Perspectives Shifting Between One and the Other Different Roles, Different Plays Differences within each Model Too WAYS OF TALKING A Confused Issue Believing in what is said
7. A FORMED IMAGE OF MUSIC BUBER'S VIEW ON ART A DEFINITION OF MUSIC A PHENOMENOLOGICAL ORIENTATION MUSIC AS ACTIVITY BEYOND AESTHETICS
8. OUTLINING A RATIONALE PHILOSOPHICAL ANTHROPOLOGY Return to Immediacy Turning Toward the Other Capacity to Relate THE THERAPISTS RESPONSIBILITY Artistic and Therapeutic Imagination The Notion of Empathy A Therapeutic Pursuit WORKING AND PLAYING The Concept of Play No Fixed Correspondence Expression by Simple Means The Whole Person Engaged A Shared Momment Gradual Development and Sudden Change A Summary of the Therapeutic process The example of Ole The Two sides of Working and Playing ENHANCING RESOURCES No Specific Client Group Repair and Regeneration MUSICAL CHANGE AND PERSONAL CHANGE What and How Spirit and Grace The Way of Playing The Notion of Spirit
9. IMPLICATIONS FOR PRACTICE A RESOURCE-ORIENTED APPROACH Different Roads, Different Destinations Transcending Limitations Various Institutional Settings Diagnosis and Assessment Intervention versus Healing Practice Mis-matching as Clinical Intervention THERAPEUTIC TECHNIQUE Idioms Facilitating Creativity Idioms in Therapy Relating Music to the Client A Conversational Principle An Image in the Likeness of Aesthetic Properties Musical Significance Something Itself to Relate to EXPRESSIVE RESOURCES The Middle Eastern Scale as an example The Power of the Response THE POTENTIALS OF THE MOMENT A Way THE ASPECT OF CULTURE Music and Identity
10. COMMUNITY-ORIENTED THERAPY EXPANSIONS OF THE THERAPEUTIC SETTING Communal Dialogue PERFORMANCE-BASED APPROACH The Issue of Confidentiality Becoming Known The Audience as an Additional Actor Therapeutic Potentials of the Social Dimension RETAINING A FOCUS ON THE PERSON The Case of Josie THERAPEUTIC CONTRACT
11. THE RECEPTIVE MODE TRAVELER, GUIDE, MUSIC, AND IMAGERY Two Approaches Transference onto Music RELATING DIRECTLY TO MUSIC Using Classical Music Listening Competency On Knowing some Music THERAPEUTIC PROCESS The Work and the Play Attending to the Traveler Sharing in the Experience AN EXAMPLE FROM A SESSION OF MY OWN Music into the foreground Outcome AN OPTION OPENED FOR Probing or Letting Be PROCESSING THE EXPERIENCE Not Reducing to Personal Conflict Matters Other Modalities than Music in BMGIM All Music Experience also Receptive
12. REMEMBERING AND FORGETTING A THEORY FOR MUSIC AS MUSIC IN THERAPY Verbalization Issue An Aesthetics of Music for Music Therapy The Therapeutic Relationship A General Theory of Music as Therapy THE BASIS FOR FURTHER DEVELOPMENT Research and Reflexivity Creative Development An Ethical Basis THEORY FOR REMEMBERING Forgetting, for Direct Relation REFERENCES AUTHOR INDEX TABLES FIGURES