By Johannes Eschen, Susan Hadley, Juliane Kowski
This publication brings jointly the pro reports of eminent analytical track therapists from Europe and america. The ebook examines the origins and concept of AMT (including a contribution at the topic from Mary Priestley), ahead of exploring its makes use of in a number of contexts. Chapters disguise AMT in counselling and rehabilitation, with adults and kids and with nonverbal consumers. A concluding part discusses elements of the learning of track treatment students.
Written via skilled and very hot analytic tune therapists, and edited by means of Johannes Th. Eschen, one of many first ever AMT scholars, this booklet may be of curiosity to practitioners in lots of branches of track treatment and comparable disciplines.
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Additional info for Analytical Music Therapy
161–168). Klein asserts that this fear leads the infant to split off the ‘good’ or gratifying parts of its mother from the ‘bad’ or denying aspects. This split later evolves into the defence mechanism of projective identification in which a person projects parts of her or himself on to another. If one projects bad parts of the self, the object of these projections is felt to be persecutory. If one projects good parts, one feels depleted and idealizes the other. 166). 231). If a person either rejects the shadow part of the self totally, or projects it on to others, he or she is said to be only two-dimensional.
This leads to a variety of different connections with others in the group, which can produce very interesting interpersonal dynamics. In a similar manner to Eschen, Pedersen and Scheiby also incorporated individual and group music therapy experiences into their training programme in Aalborg, prior to the Intertherapy experience (Scheiby and Pedersen 1999). Furthermore, they changed the design of the supervision aspect of the Intertherapy experience. Instead of both students being present for the supervision, each student received supervision privately.
28 ANALYTICAL MUSIC THERAPY personally adequate solutions as you have heard in my first group music therapy example. In aI normally the ego boundaries are relatively open, and strong emotions might be aroused. This is not the best state of mind in which to leave a session. So the last improvisation quite often has to be centred on facts of the musical material, thus with musical means helping back to secondary process thinking – back to reality. Therefore the construction of a therapy hour can be, for example: • entrance improvisation; • verbal exchange; • associative improvisation to the first theme; • verbal exchange; • follow-up improvisation; • verbal exchange; • perhaps a second follow-up improvisation; • verbal exchange; • closing improvisation.