Melding Muscial and Psychological Processes: The Therapeutic Musical Space

Journal/Book: Journal of the Association for Music and Imagery. 1995; 4: 37-48.

Abstract: "The concept of choosing a "correct" music program for a GIM session is rejected in favor of a theory which entails providing a "good-enough" musical space for each individual client's session. A description af the Pachelbel Canon in D and an excerpt from the Mozart K331 Piano Sonata shows howthe development of musical material defines the musical space of a GIM session. The study of musical elements and theoretical concepts in this article serve as an argument against a simple or prescriptive approach to choosing music for GIM session."

Note: Based on the object relations theories of Winnicott and Mahler LS suggests a theoretical understanding of the GIM setting as a metaphor of the early mother-child relationship: "It is not unreasonable to consider the beginning of the GIM session like the symbiotic beginnings of the mother-child dyad wherin the mother's holding establishes a home base of the child." (p.38) The matching technique (iso-pronciple) used in GIM to provide a 'musical home base' to meet the client's inner experience, is somehow general in Music Therapy. Like 'the good-enough mother' the 'good-enough therapist' must provide "a wider, more stimulating musical terrain" to encourage and stimulate the client to explore his/her world. Matching is no longer the adequate strategy. Stimulation to explore - in a safe surrounding - is important. Thus the tp. must know how the music material develops; knowing not similar to a score analysis, but in relation to the question of holding/stimulating. "Rather than attempting to find music which matches any specific feeling, issue, or imagery experience, the therapist can develop a profile of the client's needs in regard to holding and stimulation and then choose music which provides a good-enough musical mothering strategy." (p. 39) The Pachelbel Canon is analyzed as an example of music which "provides symiotic holding". The metaphoric quality is very clear ("the quintessential symbiotic mother, keeping the child at her breast....No place to go to, no reason to leave the mother's arms. The piece serves a a supportive, nurturing lullaby". This is confirmed by clinical experience with psychiatric clients with impaired ego strength, who can benefit from this kind of music. But the specific method of GIM aims a 'travelling', i.e. exploring , experiencing dynamic movement, and developing. "Music with significant dvelopment sections provides the client with the tension and energy to address conflictual emotional issues". The Mozart Sonata KV 331 is discussed as an example - of non-GIM music "as it is not sufficiently complex" Core metaphor: The Theme is the " musical/psychological home base. Each variation reveals a profile of the mother-child dyad.". Accompaniment voice=mother; melodic material=child! Theme: No tensions, lullaby, symbiosis Var I: "Shyly introduces tension": melodic, harmonic dissonances, dynamic forte, the rocking acc. disappears. Symbiosis left: first steps toward psych. separation. Mother provides child with energy. Play and exploration. Var II: "The melody has separated rhytmically from its accompaniment". Abrupt return to 3 beats of theme in bar 12: a short return to symbiosis. "The sections of separation provide the GIM client with tensio for exploration, whereas the cadences offer nuturance." Var III: A minor, rhtymic uniformity ("locomotor skills"). Double tessitura/ambitus. "The mother is still home abse where the child returns in times of need". Var IV: Regression: diatonic motion, stepwise melody, monotonously undulating rhtym: denial of the previous development - separation anxiety. Var V-VI + rest of the Sonata: Development continues. Conclusion: LS advocates for a client-oriented use ofthe music, not for the development of "musical prescription" or methods of chosing the "right" music. Classical music is complex and cannot be reduced to de/presceriptive labels (e.g. "sad music"). But the parallels between musical and psychological development can be used in a more conscious choice of music to meet the clients needs.

Keyword(s): Musical space. metaphor. musical dynamics. holding. stimulation

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