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Canadian Journal of Music Therapy Revue canadienne de musicothérapie Volume 22(

Canadian Journal of Music Therapy Revue canadienne de musicothérapie Volume 22(1), 2016 When the Client is a Music Therapist! Experiencing Five Approaches to Music Psychotherapy Quand la cliente est une musicothérapeute! Expérimenter cinq approches en psychothérapie par la musique. Guylaine Vaillancourt, PhD, MTA, FAMI Concordia University, Montréal, QC, CANADA Abstract This article highlights the value of music therapists undergoing therapy—in particular, music therapy—in order to have better self-knowledge and to better understand the experiences of their clients. The author explored five music psychotherapy approaches: the Bonny method of guided imagery and music (Bonny, 2000/2010); mythopoeic music therapy (Gonzalez, 1992); music therapy group (Hesser, 1985); bio-energy and music therapy (Scheiby, 1992); and vocal work (Austin, 2008). The author wishes to encourage music therapists to undergo music therapy in order to maximize the therapeutic process they can offer to clients in their music therapy practices. Keywords: music therapy, music psychotherapy, personal therapy, group therapy, guided imagery and music, mythopoetic music therapy, bioenergy, voice work, music therapy group Résumé Cet article met l’accent sur l’importance pour le musicothérapeute de cheminer en thérapie personnelle, tout particulièrement en musicothérapie, afin d’acquérir une meilleure connaissance de lui-même et de mieux saisir ce que le client expérimente de son côté. Cinq approches en psychothérapie musicale ont été expérimentées par l’auteure, soit : la Bonny Method of Guided Imagery and Music (Bonny, 2000/2010); la mythopoeic music therapy (Gonzalez, 1992); le groupe de musicothérapie (Hesser, 1985); le travail de bio-énergie et musicothérapie (Scheiby, 1992); et le travail vocal (Austin, 2008). L’auteure souhaite encourager les musicothérapeutes à suivre une thérapie personnelle en vue de maximiser le processus thérapeutique en musicothérapie auprès de leurs clients. Mots clés : Musicothérapie, psychothérapie musicale, thérapie personnelle individuelle, groupe de musicothérapie, musique et imagerie guidée, mythopoeic music therapy, bioénergie, travail vocal, groupe de musicothérapie Music therapy is a relatively young profession, especially in the realm of psychotherapy private practice. Thus there are a limited number of music therapists able to offer personal music therapy to music therapists who wish to experience this work as client. Some universities are facilitating personal therapy, either by offering free counselling sessions or by integrating some educational personal work into the curriculum. During my master’s degree in music therapy at New York University, I had the opportunity to experiment with various approaches to therapy, especially music psychotherapy, in and outside the program. As a graduate student these experiences allowed me to better know myself and to better understand the therapeutic processes that clients go through. I consider it essential for music therapists to have experienced music therapy approaches for themselves when working with clients, especially in psychotherapy. Ethically it is desirable to do personal work to better identify transference and countertransference reactions that could interfere in the development and maintenance of the therapeutic alliance. In addition, these reactions are often subtle in music therapy, as music expresses material that is not always conscious (Bruscia, 1998). To explore this issue of personal therapy further, I conducted a survey (Vaillancourt, 1996/97) looking at the mandatory personal work of the guided imagery and music (GIM) therapist. This survey was conducted with 115 GIM fellows from the United States, Canada, New Zealand, and Australia with 67 responses. Of these, 92% agreed that it is essential to be in therapy, and several respondents indicated that “you cannot take a person further than you are willing to go yourself.” Music Psychotherapy, Transference, and Countertransference There is no one definition of music psychotherapy, as there are various practices (Bruscia, 1998). For the purpose of this article, Bruscia’s definition provides us with foundational principles: “Music psychotherapy is the use of music experiences to facilitate the interpersonal process of therapist and client as well as the therapeutic change process itself ” (Bruscia, 1998, p. 2). Bruscia has expanded this definition to include four levels: music as psychotherapy, music-centered psychotherapy, music in psychotherapy, and verbal psychotherapy with music (see Bruscia, 1998), some of which the author of this paper experimented with through five music psychotherapy approaches. There is a general consensus in the literature about the need for the therapist to have been in psychotherapy in order to better serve clients. One of the early works around this issue was reported through a survey with Canadian Journal of Music Therapy ∞ Revue canadienne de musicothérapie, 22(1) 2016, 110 psychotherapists done by Kaslow (1984). Five attitudes stood out from their practices: they show more respect for the struggles encountered by their patients; they replace the need to “do for” with the ability “to be with”; they better differentiate their needs from those of their clients; they evaluate the duration and objectives of the process more realistically; and they are more aware of the downfalls of countertransference reactions. Wolberg (2005) also argues that a therapist should be in therapy in order to limit interferences with the client’s therapeutic process. Definitions of transference and countertransference have evolved through the years since Freud introduced these concepts in the beginning of the 20th century. Bruscia (1998) proposes a broad definition, which he specifies is not limited to one perspective but is more on a continuum of possibilities: “A transference occurs whenever the client interacts within the ongoing therapy situation in ways that resemble relationship patterns established with significant persons or things in real-life situations from the past” (p. 18). Countertransference, on the other hand, “occurs whenever a therapist interacts with a client in ways that resemble relationship patterns, in either the therapist’s life or the client’s life” (p. 52). Wolberg (2005) suggests questions therapists can ask themselves in order to test their attitudes: How do I feel about the patient? Do I anticipate seeing the patient? Do I over-identify with or feel sorry for the patient? Do I feel any resentment or jealousy toward the patient? Do I get extreme pleasure out of seeing the patient? Do I feel bored with the patient? Am I fearful of the patient? Do I want to protect, reject or punish the patient? Am I impressed by the patient? (p. 799) Kroll (as cited in Kottler, 1991) discusses attitudes associated with countertransference, ranging from protecting oneself in the face of fears to exploiting the client to meet one’s own needs. For example, the therapist may want to protect himself against the fear of being criticized versus his need to be flattered; the fear of engulfment versus his need to take care of others; the fear of being seduced versus his need to be desired sexually; the fear of being passive versus his need to be in control; and the fear of being correct versus his need to be correct (pp. 186–187). Canadian Journal of Music Therapy ∞ Revue canadienne de musicothérapie, 22(1) 2016, 111 Musical Transference and Countertransference Benedikte Scheiby, a music therapist who studied analytic music therapy with Mary Priestly, talks about “musical transference and counter transference” (1992, p. 13), which consist of sound patterns depicting relational life and unconscious feelings, those of the client for the transference, and those of the music therapist for countertransference. Musical countertransference is a unique phenomenon in a therapeutic relationship because it is “audible for both the therapist and the client at the moment of its creation” (Scheiby, 1992, p. 13). When Peter Jampel (1981) invites the music therapist to “find out where the music in us comes from” (p. 41), he points out a key element for music therapists. Bruscia (1998) and Hadley (2003) have also discussed how music countertransference manifests itself in therapists’ musical responses and reactions to clients, whatever populations they are working with. Music Psychotherapy and University Training Programs Josée Préfontaine (1953–2006), in her article On Becoming a Music Therapist (1997), advocated for experiential learning for the development of professional identity in addition to academic training: “Learning in the field of music therapy implies all the dimensions of a person’s being: the body, through vocal and instrumental play; the mind, through the mastery of concepts; and the affective domain, through the music” (p. 5). She underlined the limits of verbal therapy for music therapists who are training to intervene in music therapy, stating that “learning music therapy implies more than the cognitive domain: the learner must become involved with his body and voice, with his affectivity, creativity, sensitivity, and intuition” (p. 8). Préfontaine envisioned a learning process in music therapy through the exploration of relationship to self and other. Jackson and Gardstrom (2011) conducted a study with undergraduate music therapy program coordinators in United States on the issue of personal therapy. They were looking at what is requested or encouraged in these modalities: verbal therapy, music therapy, or creative arts therapies. The results showed that 14% of respondents require personal therapy for their students in one of the modalities and 32% encourage it. Of those 32%, 73% encouraged verbal therapy and 46% music therapy. The authors reported four aspects expressed by the respondents: (a) the legal and ethical aspects of making personal therapy mandatory; (b) the fees and availability of qualified professionals; (c) the benefits of personal therapy uploads/Litterature/ music-therapy-musicotherapie-canadian-journal-of-revue-canadienne-de.pdf