Synthesis Sunday - Wigram, Nygaard Pedersen, and Bonde - Continuing in Chapter 3
There is lots of information in Chapter three of A Comprehensive Guide to Music Therapy. Last week, I started the first part of the chapter and now am trying to finish up the chapter as I attempt to synthesize information from this text.
Starting on page 113, we start to discuss the models and methods of music therapy. The sheer number of "models" that we have in the profession of music therapy is staggering. GIM, Analytical Music Therapy, Creative Music Therapy, Benenzon Music Therapy, Behavioral Music Therapy, Free Improvisation Therapy, Neurologic Music Therapy are just a few of the "models" that we have to choose from as we develop our own philosophy and way of practicing music therapy.
As I continue to work through the concepts and ideas presented, it makes me realize how many things I do not know about music therapy and its practice in the greater world. I am aware of all of these different "models" of music therapy, but I haven't spent lots of time trying to learn about and from these different approaches. It's time to go deeper into new ideas.
Here are the names that I'll be looking at in the next several months, Bonny, Nordoff-Robbins, Priestley, Alvin, Benenzon, and others as my investigation into music therapy continues. Here are the things I know:
Bonny - Guided Imagery and Music - "a depth approach to music psychotherapy in which specifically programmed classical music is ues to generate a dynamic unfolding of inner experiences...(it is) holisitic, humanistic, and transpersonal, allowing for the emergence of all aspects of the human experience: psychological, emotional, physical, social, spiritual, and the collective unconscious" (Goldberg, 1995; Wigram, et al, p.115). I wonder about those people out there who do not engage in verbal processing or who have difficulties with abstract thought - is this "method" something that works for them in the way it is intended? I have a bit of a bias about GIM. I've tried it, but I cannot image when there is music present in the environment. I don't "see" anything but the orchestra playing the music. I need to look up the terms ergothropic and trophotropic in order to understand some of what they are talking about...
Priestley - Analytical Music Therapy - "clinically organized musical activities and the most applied form of musical performance is improvisation" (p. 121). "...personal and/or functional development of the clients are in focus and not an evaluation of the aesthetic quality of the musical product." (p. 121). I enjoy the idea of improvisation as the foundation of the interaction, but this "method" also requires verbal processing to complete the session. My clients are functionally non-verbal, so this form of music therapy is not really accessible to them or, by contrast, to me.
I know more, but have to go, so I'll synthesize more next week, dear readers.
Starting on page 113, we start to discuss the models and methods of music therapy. The sheer number of "models" that we have in the profession of music therapy is staggering. GIM, Analytical Music Therapy, Creative Music Therapy, Benenzon Music Therapy, Behavioral Music Therapy, Free Improvisation Therapy, Neurologic Music Therapy are just a few of the "models" that we have to choose from as we develop our own philosophy and way of practicing music therapy.
As I continue to work through the concepts and ideas presented, it makes me realize how many things I do not know about music therapy and its practice in the greater world. I am aware of all of these different "models" of music therapy, but I haven't spent lots of time trying to learn about and from these different approaches. It's time to go deeper into new ideas.
Here are the names that I'll be looking at in the next several months, Bonny, Nordoff-Robbins, Priestley, Alvin, Benenzon, and others as my investigation into music therapy continues. Here are the things I know:
Bonny - Guided Imagery and Music - "a depth approach to music psychotherapy in which specifically programmed classical music is ues to generate a dynamic unfolding of inner experiences...(it is) holisitic, humanistic, and transpersonal, allowing for the emergence of all aspects of the human experience: psychological, emotional, physical, social, spiritual, and the collective unconscious" (Goldberg, 1995; Wigram, et al, p.115). I wonder about those people out there who do not engage in verbal processing or who have difficulties with abstract thought - is this "method" something that works for them in the way it is intended? I have a bit of a bias about GIM. I've tried it, but I cannot image when there is music present in the environment. I don't "see" anything but the orchestra playing the music. I need to look up the terms ergothropic and trophotropic in order to understand some of what they are talking about...
Priestley - Analytical Music Therapy - "clinically organized musical activities and the most applied form of musical performance is improvisation" (p. 121). "...personal and/or functional development of the clients are in focus and not an evaluation of the aesthetic quality of the musical product." (p. 121). I enjoy the idea of improvisation as the foundation of the interaction, but this "method" also requires verbal processing to complete the session. My clients are functionally non-verbal, so this form of music therapy is not really accessible to them or, by contrast, to me.
I know more, but have to go, so I'll synthesize more next week, dear readers.
Thank you for the efforts in providing a helpful guide about music therapy! Do you know anything about bridiesmusictherapyandlessons.com.au?
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