Music-Centered Music Therapy by Aigen Kenneth;

Author:Aigen, Kenneth;
Language: eng
Format: epub
Publisher: Barcelona Publishers
Published: 2005-08-15T00:00:00+00:00

CHAPTER 7

Music-Centered Thinking in Contemporary Music Therapy Frameworks

As was noted earlier, theory in music therapy is entering a new stage of development. Throughout the first 60 years of its history, theory in music therapy has largely been created by pioneering individuals pursuing a unique vision regarding the possibilities of music therapy as new treatment form. The 1960s and 1970s saw the birth of Analytic Music Therapy, Behavioral Music Therapy, Benenzon Music Therapy, Guided Imagery and Music, Nordoff-Robbins Music Therapy, and the unnamed approaches of individuals such as Florence Tyson and Juliette Alvin. Yet, it has been more than 30 years since a new model of music therapy has gained international popular recognition.

At this moment in the profession, treatment frameworks are beginning to emerge in a more communal fashion. Constructs such as Community Music Therapy (Ansdell, 2002; Pavlicevic & Ansdell, 2004), Culture-Centered Music Therapy (Stige, 2002), and Music-Centered Music Therapy are coming about from an examination of the practices of the subcommunities within the profession of music therapy.51

Rather than reflect the vision of individuals, these ways of conceptualizing music therapy result from an examination of communal practices. Perhaps it is a sign of the gradual maturation of the profession that there are sufficient numbers of practitioners for explanatory frameworks to be developed in this way. And these new frameworks are consistent with the concept of general theory because they each accommodate existing practices within a broader formulation.

The present chapter focuses on the music-centeredness of these frameworks. Analysis of these frameworks are included in this book for two reasons: (1) the frameworks themselves hold great promise for being influential in the future development of music therapy; (2) demonstrating that these new frameworks are congruent with music-centered thinking offers further support for its central importance for music therapy.

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