Discography of Guided Imagery and Music (GIM) Programs by Bruscia Kenneth E.;

Author:Bruscia, Kenneth E.;
Language: eng
Format: epub
Tags: Nonfiction
Publisher: Barcelona
Published: 2014-08-05T00:00:00+00:00

IMAGERY

Original Program (Bonny, 1973)

Ravel: Introduction & Allegro

Copland: Appalachian Springs (Excerpt)

Tschaikovsky: 4th Symphony (Scherzo)

Respighi: The Birds (The Dove)

Turina: La Oracion del Torero

Digital Compilation #6 (Bonny, 1978) (35:54)

IMA 1 Ravel: Introduction & Allegro/10:18

Naxos 8.550249: Kodaly String Quartet

IMA 2 Copland: Appalachian Springs (Excerpts)/8:14

Naxos 8.550282: Czecho-Slovak RSO/Gunzenhauser

IMA 3 Tschaikovsky: 4th Symphony (Scherzo) /5:47

Naxos 8.550488: Polish NRSO/Leaper

IMA 4 Respighi: The Birds (The Dove)/4:40

Naxos 8.573168: Chamber Orchestra of New York/Di Vittorio

IMA 5 Turina: La Oracion del Torero/6:55

Koch: 3-7160-2H1: San Diego Chamber Orchestra/Barra

Used by permission of Entertainment One US LP Licensing

Alternative Recordings

Ravel: Ulster Orchestra/Tortellier; Melos Ensemble.

Copland: Detroit/Dorati; Atlantic Sinfonietta/Schenk; St. Louis/Slatkin.

Tschaikovsky: Berlin/Karajan; London/Markevitch; Oslo/Jansons.

Respighi: London/Kertesz; Bournemouth Sinfonietta/Vasary; Academy of St. Martin’s/Marriner.

Turina: Britten Quartet.

Variations

Imagery–Modified (Bonny & Bruscia, 1996) (39:47)

Music for the Imagination

Track 1: Ravel: Introduction and Allegro /10:17

Track 2: Copland: Appalachian Springs Excerpt/8:13

Track 3: Tschaikovsky: 4th Symphony (Scherzo) /5:51

Track 4: Mendelssohn: 5th Symphony (Andante) /4:54

Track 5: Suk: Serenade in E (Adagio)/10:23

Imagery–Shortened (Bonny 1998) 25+ minutes

Ravel: Intro and Allegro

Copland: Appalachian Springs (Excerpt)

Pachelbel Canon

Comments

Notice that all of the pieces are orchestral, and that none contains voices of any kind. Bonny (1978) summarized the program as follows: it "encourages visual and other sensory responses in the creative imagination. It is useful in initial group sessions and with persons who need to stimulate visual ability. In therapy, it is nonthreatening, open-ended, and useful for a general exploration of the inner personality" (p. 54). The program often suggests doing things in nature or environmental scenes. These "surface" themes serve as practice for the deeper spaces to come when 'heavier' music is used" (p. 54-55). Keiser Mardis (1986) points out how interesting the music is, and how the program engages and sustains the listener's attention, providing "easy access to pictures, memories, thoughts, colors, and other sensory experiences" (p.11). With this in mind, one might use the Imagery program for assessment purposes, with a focus on what seems to hold the client's attention at this stage of the therapy process.

"Imagery" can be used in the same ways as Explorations. It evokes many different kinds of images, takes the listener through changes in moods and emotions, and may not elicit continuity in the imagery. Bonny (1978) suggests that if more music is needed, this program can be effectively tagged with Positive Affect or Peak Experience.

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