Barcelona Publishers: Music As Therapy: Reviews Table of Contents

Music as Therapy: A Dialogal Perspective
Reviews
Table of Contents

Reviews - Click to Read Review
	Laurel Young, Nordic Journal of Music Therapy, Online Book Reviews, January 16, 2006.
	Gary Ansdell in British Journal of Music Therapy, 21, 2007.

TABLE OF CONTENTS
TABLES AND FIGURES	x
PREFACE	xi
ACKNOWLEDGEMENTS	xiii
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	1 1 2 3 4 6 7 9 11 13 14 16 17 19 20 22 23 25 26 28 29 30 32 33 35 35 37
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 Freud’s Psychoanalysis The Debate with Jung Postmodern Themes CRITICISMS Explanation and Understanding The Constructive Role of It A WAY OF VIEWING	40 40 42 43 44 44 45 46 47 48 49 50 51 52 53 53 55 56 58 59 60 63 63 64 66
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	68 68 71 72 73 74 75 76 78 78 79 81 81 82 83 85 86 89 90 95 95 97 102
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	103 103 105 106 107 108 109 110 111 112 113 114 116 117 118 119 121 122 124 126 127
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	128 128 131 132 134 134 136 137 138 139 140 140 142 145 145 147 148 148
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 Priestley’s 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	149 149 151 154 155 156 157 157 158 158 160 161 162 163 164 165 166 168 169 170 172 173 174 176 178 180 180 182 182
7. A FORMED IMAGE IN SOUND BUBER’S VIEW ON ART The Perfected Image On Music Specifically “Image-Creation,” or Created Image A DEFINITION OF MUSIC Looking and Seeing, Listening and Hearing The Aesthetic Object The Ambiguity of the Image How it Sounds as What is Said Natural Qualities of Sound Krenek’s definition Musical Materials The Perfected Image Resemblance Potentials A PHENOMENOLOGICAL ORIENTATION The World Echoed Multi-spectered Meaning Related to as a Whole, by the Whole Person “World Order” and “Ordered World” MUSIC AS AN ACTIVITY Relating to Music through Dance Power to Engage BEYOND AESTHETICS	184 184 186 188 188 189 191 192 192 194 195 197 198 199 202 202 204 205 207 209 211 213 214 215
8. OUTLINING A RATIONALE PHILOSOPHICAL ANTHROPOLOGY Return to Immediacy Turning Toward the Other Capacity to Relate THE THERAPIST’S 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	217 217 218 220 221 222 223 224 225 228 229 230 232 232 233 234 236 238 240 241 242 243 245 247 249 250 252
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	254 254 255 256 257 258 259 260 262 263 264 264 266 267 268 269 270 271 272 275 277 278 279 280
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	281 281 283 284 285 286 287 288 289 290 291
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	293 293 295 297 298 299 300 301 303 304 305 306 307 308 308 309 310 311 312 313 315
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 A Paradox	316 316 317 318 319 319 320 321 322 322 323 324 324
REFERENCES	326