By Johannes Eschen, Susan Hadley, Juliane Kowski

This publication brings jointly the pro reports of eminent analytical tune therapists from Europe and the us. The booklet examines the origins and concept of AMT (including a contribution at the topic from Mary Priestley), ahead of exploring its makes use of in quite a few contexts. Chapters conceal AMT in counselling and rehabilitation, with adults and youngsters and with nonverbal consumers. A concluding part discusses points of the educational of track treatment students.

Written by way of skilled and very hot analytic song therapists, and edited via Johannes Th. Eschen, one of many first ever AMT scholars, this e-book might be of curiosity to practitioners in lots of branches of song remedy and comparable disciplines.

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In this research methodology ‘the interactive work of music psychotherapy treatment is examined using the methodological principle of “triangulation of perspectives”’, that is, examining the perspectives of the patient, therapist and independent observers (Langenberg et al. 97). It is based on the premise that all participants are capable of perceiving, through the resonator function, ‘affective content of the material produced in treatment, as well as its aspects relative to the therapeutic relationship’ (Langenberg et al.

That day I could easily dance a ‘cave-waltz’ with the animal, and very much enjoyed playing with it for a while. Again some days later it helped me, with its fire-breath, to melt precious metals out of the cave walls and to bring valuables into new shapes. In the next session there appeared again a melody, but I had to stop: why? Again I remembered the text ‘The silver, melted by… ’ I realized that here the fire-breath of my animal would destroy something. I then cautiously ‘chiselled’ out the cave wall, purposefully beating on the metallophon.

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.

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