Body Listening: A new way to review the GIM tapes

Journal/Book: Journal of the Association for Music and Imagery. 1993; 2: 3-13.

Abstract: "Adequate assessment of GIM session music is gaine from both cognitive and experiental modes of learning. The Affective-Intutitive listening mode is described as an approach to increasing experiental, right brain facilitation and understanding of the taped music programs. The method is illustrated thorugh the use of a body improvisation exercise to the program of taped music entitled "Imagery", which was specifically created for the GIM process."

Note: "Once the deep spaces of the self are opende up tp new understanding, music has a way of approaching, evoking, drawing aout, untangling, gently touching, acknowledging, affirming, and finally, integrating changes in feeling in the psyche." HB states that there are many technical difficulties connected to the GIM tape understanding and analysis, especially for non-music therapist. She asks the question: "Is it necessary within the context of GIM work to demand a thorough left brain understanding of what is happening within the music? Can a sensitivity be developed which is attuned directly to the selections themselves?" The Kasayka format offers a useful format for the cognitive understanding, and HB suggests "The affective-Intuitive listening mode" for the right brain understanding - a listening mode similar to the one developed through constant using of GIM. 'Understanding music' with the right brain is an attunement process - the listener becomes ONE with the music, when a sufficient sensitivity to affective and intuitive responses to the music has been developed. "Body improvisation" is suggested as a way of openeing the body to the music. An exercise (on the "Imagery" tape) is described. Prepartion includes a mind-clearing meditation, a body relaxation in standing and lying position. Music listening on the floor with closed eyes, the "mid solely on the music and the effects in and through the body." - Personal notes illustrate the new experience and understanding, very often reflecting the connection between instruments/musical segments and parts of the body and the experience of music in movement terms. The conclusion must be a full citation: "Listening to the music with body improvisation may be a good first step to full acquaintance with the GIM tapes. A second step may involve more left brain/right brain balance. The second step is like kasayka's Open Listening. For me it came about in response to students' inquiries, "What were you listening for when yopu chose music for the GIM tapes?" The question is too complicated to fully answer but the following are some of the elements I am looking for in music: repetition of themes bridges between musical ideas/themes variation in timbre (color) pitch - high and low association value of musical idioms rise and fall os scale notes - dynamics use of space-time-pause-rests diversity-too much (confusion)/too little (boredom)"

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