The Role of Improvised Music in Psychodynamic Music Therapy with Adults DIANE S. AUSTIN

Transcription

1 Music Therapy 1996, Vol. 14, No. 1, The Role of Improvised Music in Psychodynamic Music Therapy with Adults PSYCHODYNAMIC DIANE S. AUSTIN MUSIC THERAPIST PRIVATE PRACTICE This is an exciting time to be a music therapist. The field is rapidly advancing. There are many music therapists now working as primary therapists and in private practice. In light of this development, there is a growing need for a theory that unites the concepts of depth psychology with the practice of music therapy. This article defines and describes a theory of psychodynamic music therapy that emphasizes the role of improvised music. Three ways in which improvised music functions within a psychodynamic framework are illustrated: as pure experience in the here and now; as a mediator between conscious an unconscious contents; and as a symbolic language. Special attention is given to Jung s theory of complexes as it relates to psychodynamic music therapy. Case examples from private practice with adults are included. Bridgebuilding and Theory Making Building bridges and making connections are important. Therefore, I have always been drawn to psychoanalytic theories that bridge art and science, and to therapists who feel the creative process is central to their work. Winnicott (1971) is one such therapist who wrote about the connection between play and creativity. He believed that there could be no healing until the client had learned to play, for playing is the source of creativity and it is in being creative that the individual discovers the self (1971, p. 54). Winnicott also addressed the therapist s role and stressed the importance of the therapist s ability to play. Creativity is central to C.G. Jung s (1968, 1969) psychology. Jung s idea is that we become ourselves through the process of working with symbols in multiple creative acts. Rollo May (1975) described the creative act as an intense encounter between a person and his or her 29

2 world. This encounter is characterized by an intensity of awareness, a heightened consciousness (p. 44). The creative process is intrinsic to music therapy. The music therapist also bridges the worlds of art and science (Bonny, 1973, 1985; Eagle, 1990; Hesser, 1995; Kenny, 1989; Ruud, 1980). The psychodynamic music therapist bridges the theories and techniques of depth psychology with the practice of music therapy. Some examples of various styles of psychodynamic music therapy can be found in articles by Austin (1991), Austin and Dvorkin (1993), Bruscia (1991, 1995), Diaz de Chumaceiro (1992), Lecourt (1991), Nolan (1994), Priestly (1994), and Scheiby (1991). Author s Stance Psychodynamic music therapy is a creative process that utilizes music and words within a client/therapist relationship to facilitate an ongoing dialogue between conscious and unconscious contents. A connection between music and words is established by verbally processing the musical experience and/or musically processing the verbal experience. Psychodynamic music therapy draws on ideas of transference, countertransference, resistance, ego development and other concepts associated with analytical theory. The creative process of exploring and integrating unconscious aspects of one s psyche enables the client to become the unique self he or she truly is. I came to the field of music therapy because I had a passion for music and the arts as well as a passion for depth psychology. With a musical background in theatre, composition, and more than 15 years experience as a professional jazz/pop singer, the psychological lens 1 look through is 25 years of involvement with Jungian theory and process as an analyst as well as a student. For the past eight years, I have been working to integrate Jungian psychology and music therapy in my private practice with adults. Since I have recently been studying other schools of depth psychology, 1 realize that I have important theoretical influences besides Jung and the Jungian theorists. By studying object-relations theory, ego psychology and self psychology, I have gained valuable insight into myself and my clients. The bridge metaphor continues to be a potent one for me. My stance as a clinician comes not only from my own personal history and influences, but also from the clients with whom I have chosen to work. The people I see in private practice are high-functioning adults, most of whom are in the creative arts professions. The majority of them have preverbal wounds. They suffered traumas at a time in their development (age l-3) when vocabulary and syntax were not fully

3 The Role of Improvised Music in Adult Psychodynamic Music Therapy 31 available to communicate the experience and/or the feelings associated with the experience. Many of my clients have histories of emotional, physical and/or sexual abuse. As a primary therapist I need to understand the dynamics and intrapsychic structure of the unconscious. The combination of improvised vocal and instrumental music with verbal processing is an effective working method. Improvised Music as Pure Experience in the Here and Now In the past ten years, some music therapists have put forth the need for a new language in music therapy. Aigen (1991, 1995), Amir (1995), Hesser (1988), and Kenny (1985, 1989) have emphasized the importance of the aesthetic experience of music. Kenny (1989) focuses on aesthetics, creative process and the musical personality of both client and therapist (p. 17) in her theory of music therapy. Aigen (1995) emphasizes the need to establish the primacy of aesthetic considerations in determining clinical interventions (p. 254). These music therapists stress the pure experiential aspect of music as essential to the therapeutic process. Improvised music in a psychodynamic music therapy context can be viewed in three complementary ways: first, as pure experience in the here and now; second, as a mediator between conscious and unconscious contents; and third, as a symbolic language. The first aspect of improvised music that is a vital part of psychodynamic music therapy is the pure experiential component of the musical encounter. This component relates to what I call the musical moment, when the music resonates with the depths of one s being and the client can experience a connection to his/her true self. Spontaneity is evoked and it is possible for the client to be directly involved on a sensory and feeling level with another (the therapist), who is also fully present and available for relationship. The client s need for mutuality is met in this encounter, and he/she has the experience of being companioned. This is a timeless moment when one feels free to experiment and transcend previous limited self-definitions. The whole being of the person, body, soul, mind and spirit is engaged. The feeling of unity and the sense of self-cohesion that is experienced restores and revitalizes. The musical moment is a moment of healing, when change and growth can occur. The aesthetic properties of music-melody, harmony and rhythm-are an essential part of the therapy process. As Aigen (1995) has expressed, these elements of music have the ability to frame raw experience into a whole experience (p. 241). Salas (1990) also stresses the healing potential in the beauty of the music and points out that the client can find intimations of universal order and purpose in music (p. 9).

4 32 Austin Also crucial to psychodynamic music therapy is the human interaction between client and therapist. In order to grow and transform, the client needs an experience of having his/her feelings and true self heard, seen and valued in relationship. Over time, this relational structure becomes internalized and the ability to relate to oneself and others is developed. When working with improvised music, this process is intensified. To quote from a client s log of a therapy session: I was playing a melody alternately on the marimba and the gato drum. After playing it several times, Diane began to hum it. This had a deep impact on me, to hear my newborn melody outside me. It was even stronger because it was her voice rather than an instrument. I felt validated and even though I had not played the melody in an effort of communication, I felt I had been heard and answered. This feeling went deep inside. When I reflect on the intensity of the musical encounter, I return to something I learned as a singer. At that time of my life, singing was the main outlet I had for expressing my feelings and I realized how therapeutic singing was for me. Within the holding structure of a song, I felt contained and safe enough to allow myself to surrender to the emerging sensations and feelings. What I learned in the past is still true. When I improvise, the music comes from a natural impulse. I feel more spontaneous and alive, more fully myself. Nordorff and Robbins (1977) describe this experience well: A new emotional stream begins to flow, nourishing a new awareness of self and of expressive capability (1977, p. 56). Kenny (1985) speaks about the organizing aspects of musical improvisation that allow one s natural patterns of being to emerge. In my experience, feelings are accessed more easily through music than through words, and are readily transferred through the musical field between client and therapist. This transfer of feelings intensifies the interpersonal encounter as well as the intrapersonal encounter of the client with his/her inner world. Improvised Music as a Mediator Between Conscious and Unconscious Contents The second way I conceptualize the role of improvised music in psychodynamic music therapy is to view music as medial. This term refers to the ability of music to mediate contents from the personal and collective unconscious to the conscious mind. Music can give voice to what is still inaudible. Music can give us access to the invisible worldthe world of image, memory and association. Music can function as a

5 The Role of Improvised Music in Adult Psychodynamic Music Therapy 33 bridge over which aspects of the self normally not heard from can cross over into consciousness where they can be experienced, related to, and eventually integrated (Austin, 1993). C.G. Jung was a pioneer in observing and documenting the psyche s tendency toward dissociation. He wrote about the little people who inhabit the inner world. Jung believed that we are born in a state of unconscious unity. The ego is identified (or merged) with the Self (the central archetype of wholeness). As one moves toward consciousness, there is a breaking up of the original unity. Parts of one s personality that never get seen and related to get left out in the course of one s ego development and in the process of adapting to parental values and expectations. These part-personalities remain unintegrated (Jung, 1968, 1969; Edinger, 1972). We all have dissociated or unintegrated partial aspects of the self. These little people, our inner cast of characters, have their own goals, music and songs. In psychodynamic music therapy these songs can be heard and brought into awareness. Then the energy contained in the music can be used to enlarge and enrich the conscious personality. An example of this process is seen in the case of a 26-year-old man I will call Peter. Peter grew up in a household with a mother who was emotionally unstable and an alcoholic father. Peter became his mother s caretaker and a mother to his younger sister. In order to cope with this situation, he split off from his own child self and his own needs. This was how he survived. At this point in his therapy process Peter began to realize the extent of his emotional deprivation. Suffering from anxiety and depression, he worked and ate compulsively. He longed for intimate connections but his fears of engulfment and abandonment caused him to distance himself from people. Peter loved music and particularly enjoyed singing. When we sang together, he said he felt as if his wall was melting. For Peter, this meant he was less defended and more able to access his feelings. The music allowed him to feel closer to his real self and to me. The music broke through his isolation. Free Associative Singing When I worked with Peter, I often used a technique I call free associative singing. This technique involves creating a consistent and stable musical holding environment. If the client is musically knowledgeable, I begin by asking him what two chords he would like me to play. If he has little or no knowledge of chord structure, I play examples

6 34 Austin of major and minor chords and ask him which he would prefer. Sometimes a client describes the quality of sound that captures a feeling or mood he would like to evoke, and together we find the desired chords. This technique is limited to two chords in order to create a predictable, secure musical container in which the client does not have to think too much, but can relax and allow his spontaneous self to emerge. I also ask if he would like a particular rhythm, and play this chord pattern repeatedly to allow him to improvise. This simple technique is very effective in creating a safe and predictable environment for self-expression (clearly, something Peter never had). I vocally mirror the client s sounds and/or words. My mirroring offers support and encourages him to continue singing. This technique facilitates a musical stream of consciousness. The repetition of the two chords and the rhythmic pattern, can induce an altered state in which images and associations flow freely. During a significant music therapy session, Peter began the hour by talking about his weekend. He described it as depressing. He had little affect when he spoke and seemed removed from his experience. I suggested that we sing about his weekend. He agreed and requested major chords. I played a continuous pattern of C major 9 to F major 9. He began by singing about the concrete events of the weekend; what he did, where he went. Eventually, he began to sing about the loneliness he felt on Sunday afternoon. His voice became softer, lighter and sounded younger. Some of the words he sang were: I m lonely. it's empty here it s sad here I m all alone. it s cold and I m scared here. He had an image of himself as a child hiding all alone in the attic. As I continued to mirror his words and melody, I sang, What do you need Peter? He said, There are no words. As the playing continued, he began to sing without words using la and oo, I sang with him. He began to cry. He said Sundays were miserable when he was a kid. His father was drunk all day and his parents fought for hours on end. Peter said that what he needed was to talk to and just be with somebody calm. He needed to feel safe. The improvised singing enabled the young, wounded part of Peter to enter the therapeutic relationship. The music provided a safe space so that Peter could begin to meet his early dependency needs and move forward in his life. Working With Complexes Jung had a benign view of dissociation. He believed that it was an essential, natural process in the differentiation of the personality. Unlike Janet, Breuer and Freud ( Breuer and Freud, 1937), Jung put forth the

7 The Role of Improvised Music in Adult Psychodynamic Music Therapy 35 idea that dissociation extends along a continuum from normal mental functioning to abnormal mental states. In Jung s theory, parts of the self are directly related to complexes. A complex is an emotionally charged energy center comprising a number of associated ideas and images. At the core of the complex is an archetype-a transpersonal, universal pattern of psychic experience and meaning (IJlanov, 1971). An archetype is made up of emotion and image (and, I believe, sound). The archetype contains the most primitive form of the affect (Edinger, 1972: Jacobi, 1942; Kast, 1992). Complexes often have a traumatic etiology. According to Jung, complexes are psychic fragments that have split off as a result of traumatic influences or certain incompatible tendencies (Jung, 1969). Jung believed that contents of the unconscious first present themselves to the ego in the form of complexes. If the constellating complex is not made conscious it will surface as a projection. On the other hand, when a person s ego interacts with a complex, there is a noticeable change in his/her mood and attitude. When one is caught in a complex (identified with it) emotional reactions are exaggerated. One has the sense of being in an altered state. As Kast (1992) explains, at that moment the person is reacting not only to the current situation that triggered the fear or anger, but to all similar situations experienced in the course of one s life (p. 36). Kast goes on to say, in this condition we feel trapped and at the mercy of inner activities we cannot influence. we feel we have lost control, that we are far less autonomous than we believed ourselves to be (1992, p. 36). The implications of Jung s complex theory for psychotherapy are apparent. The client s healing involves experiencing the feelings, images and memories associated with the complex and bringing them into consciousness. The contents of the complex can then be assimilated by the ego and integrated into the client s self-image, making the energy available for conscious use. According to Jung, the energy that constitutes the complex is precisely the energy that the client needs for continued development and healing (Kast, 1992). It is interesting that Jung referred to the complexes as feeling-toned (Jacobi, 1942, p. 39). As Ansdell points out: Our emotions share with music the qualities of speed, force, attack, intensity and so on (1995, p. 12). Our emotions are mirrored in the way music works. Music gives sound to inner feeling states. As I have previously illustrated, improvised music provides the client with both a bridge to the inner world and a direct experience of the feelings, fantasies and memories therein. As both a catalyst and a container, music is a uniquely effective way of working with complexes and their archetypal cores. In Jung s words:

8 36 Austin Music reaches the deep archetypal material that we can only sometimes reach in our analytic work with patients (1977, p. 275). Do particular complexes (i.e., abandonment complex, inferiority complex) have recognizable musical aspects? In other words, can the client s music help to identify the complex that is being constellated? To my knowledge, the answer to this question has not been researched. However, I have found similar qualities in a client s music when he/ she is caught in a traumatizing aspect of the power complex. In several instances, clients who improvised music around issues involving extreme judgment, verbal and/or physical abuse, produced music with similar qualities. In each case, the tempo was very fast. The rhythm, melody and harmony were repetitive and had an insistent, compulsive quality. The effect of the music on these clients, was also consistent. Each one experienced his/her music as intense and having a life of its own. Each felt that he/she could have continued playing for hours without any change in the musical patterns. One client described feeling as if she were possessed. Another said she felt attacked by self-hatred. Two of the clients, when asked to draw what they experienced during the improvisation, drew whirling patterns that looked like cyclones. These drawings are reminiscent of the circular, spiraling pattern that has been referred to as a trauma vortex by Dr. Peter Levine. Dr. Levine specializes in working with traumatized people through a process he calls somatic experiencing (Levine, 1995). When playing music with a client caught in an attacking aspect of the power complex, I have found that the music usually lacks feeling and contains a driven quality When the client associates the music to a part of his/her personality, he/she has given it names like the perpetrator, the predator or the witch. To be caught in a complex is to be metaphorically captured by the gravity of another planet. I have described how music can be useful in identifying the sounds of someone so captured. Music can also be extremely effective in helping the client return to earth ; helping to differentiate his/her own voice from the state of unconscious identity with the complex. Music can enable the client to connect to his/her authentic feeling (the feeling beneath the judgment). The client can then separate from the attacker and find his/her own point of view. Case Example Julia is a 32-year-old artist who entered therapy because of low selfesteem, an inability to assert herself and problematic relationships.

9 The Role of Improvised Music in Adult Psychodynamic Music Therapy 37 These issues, along with a fear of authority figures, made it difficult for her to move forward in her career. Julia is an only child and described her mother as aggressive and dominating, and her father as weak and ineffectual. Her mother was physically abusive to Julia throughout her childhood and adolescence. Julia had difficulty connecting to her feelings. Like the majority of people who suffer from childhood trauma, she employed dissociation as a major defense. This session began with Julia describing a new work situation. The woman in charge of her department had an explosive temper. Julia was intimidated by this woman and sought her approval. This resulted in Julia working overtime without compensation and then feeling taken advantage of and angry. I asked Julia to play what it felt like at work. She chose the piano and asked me to play with her. Her music was loud and staccato. The tempo was very fast. She played clusters of notes: G, A, Bb, C, played together in a repetitive pattern. The music was dissonant but related to the key of G minor. I supported her playing by musically reflecting and holding in the lower register of the piano. I would describe the quality of the music as energetic, compelling and driven, with no space to breathe or feel. This music continued for five minutes or more. Then the tempo gradually slowed. She stopped playing clusters and began to play one note at a time in G Dorian mode. To me the music had a sad, soulful quality. Afterward, we listened to a tape recording of the improvisation. We both recognized the similarity between the first part of the improvisation (very fast, dissonant music) and music she had played in previous sessions to describe her home life. Julia said, Work is hectic, constant confusion always a crisis. I feel like there s no calm spot, no center I used to feel this way at home, like everything was whirling around me-then I would fly off. Julia had images of her mother hitting her and screaming at her because Julia was working too slowly or because she was clumsy and bumped into something. Julia said, This beginning music is like my mother-compulsive, intense, always moving, attacking. Julia realized that when she gets caught up in this rhythm, she becomes driven like her mother. She appears efficient, hardworking and unfeeling but underneath she is judging and underneath the judgment there is fear. When the music slowed down she said, the self I show to the world is breaking down it s like I dropped through the floor into the basement. this music is sad, dark and lonely but it s my music and my rhythm is much slower than my mother s I feel much more connected

10 38 Austin to my inner core in this music, and my inner core is sad. I don t mind the sadness (pause) it s peaceful. In subsequent therapy sessions, Julia continued to strengthen her own psychological standpoint. Gradually she became able to dialogue with her inner attacker. This was accomplished through musical improvisation and verbal processing. Musical role playing was also employed. At times I improvised the role of the attacker while she played her core self. At other times we reversed roles. Eventually, using these roles, we were able to have a musical conversation that felt less like a power struggle and more like a genuine communication of feelings. The energy contained in this persecutory part is powerful because although it is related in this case to the personal mother, it is also transpersonal (beyond the personal) and archetypal. Consciously relating to this energy humanizes it so that the aggression can be made available to the ego for positive use in the world. Julia gradually became able to use this aggression consciously to set boundaries and to protect herself by asserting her feelings and needs in a direct and effective way. Improvised Music As A Symbolic Language From a psychodynamic or psychoanalytic point of view, music is most often regarded as a language that gives symbolic expression to unconscious contents and intrapsychic processes. Mary Priestly (1994), one of the founders of analytical music therapy, defines her approach as the analytically informed symbolic use of improvised music by the music therapist and client (p. 3). Priestly believes that experiencing emotion symbolically in music or movement reduces the pain of the experience. In her words: Symbols are accumulators and transformers of psychic energy using them, the therapist is dealing with the transformation of force the music therapist has this unique lightning conductor; the tapping off of the surplus emotional dynamism through shared sound expression (p. 47). Scheiby (1991), who was deeply influenced by Priestly, describes her own work as involving the symbolic use of improvised and composed music by the client and therapist. Scheiby uses verbal processing to relate the music to the clients present and past issues. She states: Any musical structure which a client presents in an improvisation is a mirror of the client s psychological organization and dominant function (p. 289). Tyson s (1981) approach to music therapy also includes the acceptance of the music of the client as a symbolic communication. Tyson

11 The Role of Improvised Music in Adult Psychodynamic Music Therapy 39 believes the music itself can be a substitute for an inadequate or missing primary object. She states: In the transitional phase, it is the musical instrument which he (the client) touches and holds as a symbol of feelingful relationship (p. 71). Lecourt (1991) describes the concordance between her clients musical improvisations and the therapeutic relationship (transference and countertransference). She discusses the symbolic significance of rhythm and gives an example of a client s interest in the offbeat versus the main beat. For Le Court, this aspect of her client s music paralleled his central issue of problematic toilet training. There are other music therapists who may not necessarily consider themselves psychodynamic in orientation, but who do make reference to music as metaphor and a form of symbolic communication. It is beyond the scope of this paper to list them all but some examples include: Katsh and Merle-Fishman (1987), Miller (1994), Moffitt (1991), Perilli (1991), Simpkins (1987) and Van Den Hurk and Smeijsters (1991). It is important to note that the way the client s symbolic communication (and therefore his/her musical expression) is interpreted, will be affected by the therapist s orientation (Freudian, Kleinian, Jungian, etc.) In my private practice, I am aware of the client s improvised music as being symbolic of his/her intrapsychic and interpersonal dynamics. A brief example is a 32-year-old client, Lisa, who was identified with her persona--a nice person. Her persona was reflected in her nice music, which was always consonant and never loud. Lisa was uncomfortable with disagreement and dissonance. She denied her anger and projected it onto other people. In Jungian terms, her disowned anger was part of her shadow. As Lisa became more aware and accepting of her angry feelings, her music reflected this change. She began to explore the world of dissonance and allowed herself a wider dynamic range. I believe the louder, more dissonant music also supported her ability to experience anger in a less threatening way. This change in Lisa s attitude was especially visible in the transference. The first time she played loudly and banged on the piano, she was playing alone and I was listening (at her request). It seemed that she stopped playing prematurely. She appeared to be wary of my judgment. When questioned as to why she stopped playing, she said, I didn t want you to feel uncomfortable. This comment led to an insight concerning her mother s negative reaction to Lisa s anger. Lisa s expectation was that I would reject her music if it were too loud or dissonant, in the same way that she felt her mother had rejected her when Lisa expressed any disagreement or anger.

12 40 Austin I suggested that she return to the piano and that we play together. This time, the music lacked affect. Afterward, when we discussed the improvisation, Lisa admitted that she had not wanted to play again. She was afraid to say no to me because she felt I would be disappointed. Perhaps I would get angry at her if she did not comply. Lisa was transferring her relationship with her mother onto our relationship. This time, however, Lisa was able to express her feelings and have them responded to in an accepting way. This was a reparative experience for her. My countertransference had to do with the annoyance and judgment I sometimes felt toward Lisa s nice music. Excited about her progress, sometimes I felt the urge to push her forward in her process. I had to clarify whether at times my interventions were prompted by Lisa s resistance or whether they were fueled by my own countertransferential feelings. In this last case example, I have illustrated how all three ways of viewing the role of improvised music in psychodynamic music therapy are present. One sees what one chooses to focus on. Clearly, Lisa had a pure experience in the here and now. Lisa was able to experience more of her capacity for self-expression in the music. This experience could eventually be integrated and actualized in the world. One can also appreciate the music in this case example for its medial capacity Associations and feelings were brought to consciousness, which led to insight and new experience. The music can be perceived as symbolic communication of intrapsychic processes and interpersonal communication. Lisa s nice consonant music can be interpreted as representing a compliant false self (in object relations terminology) or as identification with the persona (in Jungian terms). The dissonant music relates to the archetype of the shadow (in Jungian terms). A Freudian might call this id music. Different theoretical schools might interpret the music using their own language and concepts. It is important that the therapist have a theoretical framework that informs his/her work. However, the client and therapist can ultimately benefit by exploring the symbolic communication inherent in the music. This can be done very effectively and therapeutically without getting bogged down in psychoanalytic jargon. The goal is for the client to learn to think symbolically and eventually to interpret for him/her self. In Lisa s case, she was gradually able to make connections between the music she played and her emotional life. This ability deepened her capacity for insight and change. In this article I have described three ways of viewing the important role of improvised music in the process of psychodynamic music

13 The Role of Improvised Music in Adult Psychodynamic Music Therapy 41 therapy. The music operates on all three levels simultaneously in the clinical session; as pure experience in the here and now, as a mediator between unconscious and conscious awareness, and as a form of symbolic communication. These three aspects or roles of the music flow and interweave like music itself. Like rhythm, melody, and harmony, sometimes one takes precedence over the other, but each is essential when creating the song of the self. References Aigen, K. (1991). The roots of music therapy: Towards an indigenous research paradigm. Unpublished Doctoral Dissertation, New York University, New York. Aigen, K. (1995). An aesthetic foundation of clinical theory: An underlying basis of creative music therapy. In Carolyn B. Kenny (ed.), Listening, playing, creating: Essays on the power ofsound. Albany, New York: State University of New York Press. Amir, D. (1995). On sound, music, listening, and music therapy. In Carolyn B. Kenny (ed.), Listening, playing, creating: Essays on the power ofsound. Albany, New York: State University of New York Press. Ansdell, G. (1995). Music for life: Aspects ofcreativemusictherapy with adult clients. London, England: Jessica Kingsley Publishers Ltd. Austin, D. (1991). The musical mirror: Music therapy for the narcissistically injured. In Kenneth E. Bruscia (ed.), Case studies in music therapy. Phoenixville, PA: Barcelona Publishers. Austin, D. (1993). Projection of parts of the self onto music and musical instruments. InGregory M. Rolla, Your inner music. Wilmette, III: Chiron publications. Austin, D. And Dvorkin, J. (1993). Resistance in individual music therapy. The Arts in Psychotherapy 20 (5) Bonny, H. And Savary, L. (1973). Music and your mind. New York: Harper and ROW. Bonny, H. (1985, November 24). Music: The language of immediacy. Presentation for the National Coalition of Arts Therapy Associations. Breuer, J. and Freud, S. (1937). Studies in hysteria. Boston: Beacon Press. Bruscia, K. (1991). Embracing life with AIDS: Psychotherapy through guided imagery and music. In Kenneth E. Bruscia (ed.), Case studies in music therapy. Phoenixville, PA: Barcelona Publishers. Bruscia, K. (1995). Modes of consciousness in guided imagery and music: A therapist s experience of the guiding process. In Carolyn B. Kenny (ed), Listening, playing, creating: Essays on the power of sound. Albany, New York: State University of New York Press. Diaz de Chumaceiro, C. (1992). Induced song recall. The Arts In Psychotherapy 19 (5) Dvorkin, J. (1991). Individual music therapy for an adolescent with borderline personality disorder: An object relations approach. In Kenneth E. Bruscia (ed.), Case studies in music therapy. Phoenixville PA: Barcelona Publishers Eagle, C. (1990, November). Steps to a theory of quantum therapy. Presentation for the National Coalition of Arts Therapy Associations.

14 42 Austin Edinger, E. (1972). Ego and archetype. New York: Penguin Books. Hesser, B. (1988). Creating a strong professional identity. Journal ofthe International Association ofmusic for the Handicapped. 4 (1) Hesser, B. (1995). Music therapy theory. Unpublished manuscript. Jacobi, J. (1942). The psychology of C.G. Jung. London: Routledge and Kegan Paul Ltd. Jung, C.G. (1968). The archetypes and the collective unconscious. Volume 9 of collected works. Princeton, W.J.: Princeton University Press. Jung, C.G. (1969). The structure and dynamics ofthepsyche. Volume 8 of collected works. Princeton, N.J.: Princeton University Press. Kast, V. (1992). The dynamics ofsymbols. New York: Fromm International Publishing Corporation. Katsh, S. And Merle-Fishman, C. (1987). Metaphoric improvisation therapy. In Kenneth E. Bruscia, Improvisational models of music therapy Springfield, Ill: Charles C. Thomas Publisher. Kenny, C. (1985). Music therapy: A whole systems approach. Music Therapy 9 (1) 1-15 Kenny, C. (1989). The field of play: A guide for the theory and practice of music therapy. Atascadero, CA: Ridgeview PubIishing Company. Lecourt, E. (1991). Off-beat music therapy: A psychoanalytic approach to autism. In Kenneth E. Bruscia (ed.), Case studies inmusic therapy. Phoenixville, PA: Barcelona Publishers. Levine, P. (1995). Understanding childhood trauma. Lyons, Co: Ergos Press. May, R. (1975). The courage to create. New York: Bantam Books Miller, E. (1994). Musical interventions in family therapy. Music Therapy 12 (2) Moffitt, E. (1991). Improvisation and guided imagery and music with a physically disabled woman: A gestalt approach. In Kenneth E. Bruscia (ed.), Case studies in music therapy. Phoenixville, PA: Barcelona Publishers. Nolan, P. (1994). The therapeutic response in improvisational music therapy: What goes on inside? Music Therapy Perspectives. 12 (2) Nordoff, P. and Robbins, C. (1977). Creative music therapy. New York: John Day Publishing. Perilli, G.G. (1991). Integrated music therapy with a schizophrenic woman. In Kenneth E. Bruscia (ed.), Case studies in music therapy. Phoenixville, PA: Barcelona Publishers. Priestley, M. (1994). Essays on analytical music therapy. Phoenixville, PA: Barcelona Publishers. Ruud, E. (1980). Music therapy and its relationship to current treatment theories. St. Louis, MO: Magna-Music Baton. Salas, J. (1990). Aesthetic experience in music therapy. Music Therapy 9 (1) Scheiby, B. (1991). Mias fourteenth-the symphony of fate: psychodynamic improvisation therapy with a music therapy student in training. In Kenneth E. Bruscia (ed.), Case studies in music therapy. Phoenixville, PA: Barcelona Publishers. Simpkins, P. (1987). Integrative improvisation therapy. In Kenneth E. Bruscia, Improvisational models of music therapy. Springfield, Ill: Charles C. Thomas Publisher. Tilly, M. (1977). The therapy of music. In R.F.C. Hull. (ed.), C.G. Jung speaking. Princeton, N.J.: Princeton University Press.

15 The Role of Improvised Music in Adult Psychodynamic Music Therapy 43 Tyson, F. (1981). Psychiatric music therapy: origins and development. New York: Fred Weidner and Son. Ulanov, A.B. (1971). The femininein Jungian psychology and in Christian theology. Evanston: Northwestern University Press. Van den Hurk, J. and Smeijsters, H. (1991). Musical improvisation in the treatment of a man with obsessive-compulsive personality disorder. In Kenneth E. Bruscia (ed.), Case studies in music therapy. Phoenixville, PA: Barcelona Publishers. Winnicott, D.W. (1971). Playing and reality. London: Tavistock Publications, Ltd. Diane S. Austin, M.A., A.C.M.T. is a Jungian-oriented psychodynamic music therapist with a private practice in Brooklyn Heights, New York. She is an adjunct faculty member in the music therapy department at New York University where she is also a doctoral candidate. Diane directs the music therapy program for adolescents in foster care at Turtle Bay Music School in New York City. She is a vice president on the board of directors for the American Association for Music Therapy and is an honorary member of the International Scientific Committee for the 8th World Congress of Music Therapy Author s Note: I would like to acknowledge my clients, who continue to inspire me. Special thanks to Barbara Hesser and the doctoral seminar group for their stimulation and encouragement.