| TABLE
OF CONTENTS |
| Contributors |
xvii |
| Preface |
xxi |
Chapter 1: An Introduction to Music Psychotherapy
Kenneth E. Bruscia
A context for the book is provided by defining music psy-chotherapy and explaining
the specific ways music can be used. Three methods are highlighted: improvisation,
songs and music imaging. Basic characteristics of a psychodynamic orientation
are delineated.
|
1 |
Chapter 2: The Many Dimensions of Transference
Kenneth E. Bruscia
The literature on transference is reviewed and a definition of transference is
provided that frames the clinical essays in the chapters that follow. The many
dimensions of transference are then examined as continua along which each transference
can be analyzed, such as past/present, appropriate/inappropriate, intra-personal/interpersonal,
un-conscious/conscious, pre-oedipal/oedipal, sources, and objects |
17 |
Chapter 3: The Dynamics of Transference 35
Kenneth E. Bruscia
The relationship between transference and other phenomena is examined, including
introjections, projections, identification, projective identification, introjective
identification, and resistance. Three levels of intervention are offered for
working with transference. |
|
Chapter 4: Understanding Countertransference
Kenneth E. Bruscia
The literature on countertransference is reviewed and a definition of countertransference
is provided that frames the clinical essays in the chapters that follow. Five
components are examined in detail: sources (where it originates), activators
(what brings it out), identifications (the person or thing being replicated),
objects (the person or thing toward which it is directed), and outcomes (whether
it obstructs or facilitates therapy). |
51 |
Chapter 5: The Signs
of Countertransference
Kenneth E. Bruscia
The ways in which countertransference is manifested are described, both in the
positions that therapists develop toward their work (such as clinical specialties
and styles, theoretical orientations, use of music) and in their moment-to-moment
interactions with clients (such as somatic, emotional, and interpersonal reactions;
decisions, ruts; burnout).
|
71 |
Chapter
6: Techniques for Uncovering and Working with Countertransference
Kenneth E. Bruscia
Several techniques for investigating and managing countertransference are presented.
Techniques that can be employed during a session include self-clearing, moving
one’s consciousness, following procedural cycles, and using helpful images. Techniques
that can be used away from the client include referential and experiential self-inquiries,
supervision, self-experiences, and nurturing the musical self.
|
93 |
Chapter 7: Resistance in Individual
Music Therapy
Diane S. Austin and Janice M. Dvorkin
While everyone who enters psychotherapy has the conscious intention of wanting
to change, clients often exhibit ambivalence through resistance to communicating
thoughts and feelings to the therapist. Much has been written about this phenomenon
in verbal psychotherapy; this chapter addresses its manifestation in music therapy
sessions. Also discussed is the effect of transference and countertransference
on the therapist’s clinical judgment regarding the amount and type of music used
in each session and through out the therapy process.
|
121 |
Chapter
8: The Role of Aesthetics in Countertransference:
A Comparison of Active Versus Receptive Music Therapy
Edith Lecourt
Aesthetic concerns contribute to and shape the therapist’s countertransference
in different ways for active versus receptive music therapy. Of specific concern
in the extent to which the therapist idealizes, denies, recognizes, or uses the
aesthetic dimension of music in therapeutic work. The discussion is organized
around three forms of countertransference: classical countertransference, concordant
identification, and complementary identification. Also considered are the main
psychological functions aesthetics in music therapy: sublimation, defense, perversion,
and pleasure. |
137 |
Chapter 9: Transference and Countertransference
In Nordoff-Robbins Music Therapy
Alan Turry
The creative process of improvisation is explored, focusing on the client-therapist
relationship and the dynamics inherent in the musical interaction. Included
are a description of current Nordoff-Robbins practice and an examination of
its specific principles and their implications for transference and countertransference.
A careful analysis of music created by a client and therapist illustrates transference
and countertransference phenomena. Issues that may impede the creative process
are considered. Examples from supervision and clinical cases are used to explain
concepts.
|
161 |
Chapter 10: The Role of Musical Countertansference
In Analytical Music Therapy
Benedikte B. Scheiby
Three variants of musical countertransference are considered — classical countertransference,
complementary countertransference (c-counter-transference), and e-countertransference
(specifically, traumatic e-counter-transference)—along with how they manifest
in clinical musical interactions. Characteristics of Analytical Music Therapy
and its use with depressed clients or those who have been emotionally, sexually,
or physically abused are described, with particular emphasis on how countertransference
can present in music. |
213 |
Chapter 11: Transference Experiences
in Two Forms
Of Improvisational Music Therapy
Susan J. Hadley
The nature of transference in Analytical Music Therapy and in Creative Music
Therapy are examined and compared from the client’s perspective. Although evoked,
expressed, and worked through differently under each method, the transferences
were essentially the same. |
249 |
Chapter 12: Transference and Countertransference
in Group Improvisation Therapy
Janice M. Dvorkin
Transferences can occur in music therapy groups just as in verbal analytical
group therapy. The music, however, provides a structure through which the unconscious
process can be expressed and heard, as can behaviors and perceptually distorted
verbal expressions of transference material. Just as conscious versus unconscious
choices can be explored in dream work, so can the choice of composed music versus
improvisational music be explored and interpreted directly in the group environment.
Improvisational music therapy in the group setting is valuable because both group
members and therapist are available as observers of and displacements for the
transference object and because it offers each member a variety of responses
to his or her transferential statements and validation of transference material. |
287 |
Chapter 13: Relational Issues in
Psychoanalytic
Music Therapy with Traumatized Individuals
Louise Montello
Transference and countertransference reactions that emerge within the music
therapy matrix between traumatized client and therapist are analyzed. Several
case vignettes are used as clinical examples commonly found in work with traumatized
individuals both within and outside of the musical context and to show how
music can be used to elucidate and transform both intra- and interpersonal
conflicts.
|
299 |
Chapter 14: When the Psyche Sings:
Transference and Countertransference
In Improvised Singing with Individual Adults 315
Diane S. Austin
Transference and countertransference during vocal improvisation in analytically
oriented music therapy are examined as they emerge as transformative aspects
of the therapeutic relationship. Singing techniques developed by the author are
illustrated in two case examples. |
|
Chapter 15: Unconsciously Induced Song
Recall:
A Historical Perspective
Cora L. Diaz de Chumaceiro
An overview is provided of the application of psychoanalytic principles to the
analysis and interpretation of unintentional evocations of vocal music in treatment
and in everyday life, from the turn of the twentieth century to the mid-1980s.
The contributions of Sigmund Freud, Carl G. Jung, Theodore Reik, Jean B. Rosenbaum,
Frances Hannet, Cassandra M. Klyman, and Daniel S. Jaffe are examined. |
335 |
Chapter 16: Consciously Induced Song
Recall:
Transference-Countertransference Implications
Cora L. Diaz de Chumaceiro
Two research studies conducted in Latin America are presented, both applying
the induced song recall technique to both members of psychotherapy dyad, along
with a more recent supervisory case. A technique is presented for detection and
resolution of transference-countertransference dynamics that can lead to impasses
and premature flight from treatment. |
365 |
Chapter 17: Countertransference in Clinical
Song-Writing
Paul Nolan
Listening to songs stimulates unconscious processes. In clinical song-writing,
the music and lyrics stimulate subjective responses in the therapist, including
countertransference reactions. A process is described whereby the therapist’s
awareness and acceptance of all music- and relationship-invoked feelings can
be guided toward conscious use within the treatment process. This enhances the
therapist’s understanding of the client and limits the negative consequences
of unconscious countertransference responses. |
387 |
Chapter 18: Manifestations of Transference
in Guided Imagery and Music
Kenneth E. Bruscia
Case examples are used to illustrate the specific ways in which transferences
are activated, configured, and expressed in Guided Imagery and Music (GIM). First,
the various objects, sources, and valences of GIM transferences are examined,
then those aspects of the GIM experience that activate transference are considered. |
407 |
Chapter
19: The Pure Music Transference inGuided Imagery
and Music
Lisa Summer
In, GIM, classical music, not the therapist, is the primary therapeutic agent
and is therefore placed centrally as part of the primary transference relationship.
Clinical material from a client’s first GIM session shows how a transference
relationship is first established with the music and then expressed in the
imagery. The author labels this phenomenon the GIM “pure music transference”
and examines its origins and theory.
|
431 |
Chapter 20: Transference Structures
in Guided Imagery and Music
Connie Isenberg-Grzeda
Transference and transference resistance within the context of GIM are considered.
The notion that the therapist’s theoretical ideas shape his or her perception
of the therapeutic process and that this in turn shapes the nature of patients’
transference reactions is explored. Three different con-ceptualizations of the
role or function of music in GIM are presented, and their potential impact on
transference resistance is described. The relationship between structural aspects
of the GIM process and transference phenomena is examined. |
461 |
Chapter
21: A Self-Analysis of Transference in Guided Imagery
and Music
John Pellitteri
An analysis of transference as it occurs in GIM is presented. A therapist in
the role of client illustrates the imagery, the music, and the GIM facilitator
as objects of transference. Interpretations of transference resolution are presented
from various psychological theories. |
481 |
Chapter
22: Modes of Consciousness in Guided Imagery and
Music: A Therapist’s Experience of the Guiding Process
Kenneth E. Bruscia
A case example is used to introduce a reflective form of self-inquiry aimed at
explicating what it means for a therapist to “be there” for a client during the
GIM experience. A theory is explicated on how a therapist expands, centers, and
moves his or her consciousness into various experiential spaces while guiding
the client through the music-imaging experience. |
491 |
Chapter
23: Reimaging Client Images: A Technique for Exploring Transferences
and Countertransference In Guided Imagery and Music
Kenneth E. Bruscia
A case example is used to introduce “reimaging,” a technique developed by the
author for uncovering unconscious aspects of the client-therapist dynamic in
GIM. The therapist has a short GIM experience, focusing on an image created by
a client previously, then analyzes his own version of the image to discern countertransference
and transference. |
527 |
Chapter 24: Reimaging Client Images:
A Technique
for Uncovering Projective Identification
Kenneth E. Bruscia
A case example is used to illustrate how the reimaging technique can be used
to uncover projective identification. |
549 |
