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Music-Centered Music Therapy

Author : Kenneth Aigen

Music-Centered Music Therapy
ISBN : 9781891278259
E-ISBN : 9781891278891


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 © 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 © 1999 by Robert G. Weiner. Reproduced with permission of Greenwood Publishing Group, Inc., Westport, CT.