Music-Centered Dimensions of Nordoff-Robbins Music Therapy
Music-Centered Dimensions of Nordoff-Robbins Music Therapy
复制标题
诺多夫罗宾斯音乐治疗以音乐为中心的维度
DOI：
10.1093/mtp/miu006
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发表时间：
2014
影响因子：
1.2
通讯作者：
Kenneth S. Aigen
中科院分区：
文献类型：
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作者：
Kenneth S. Aigen
诺道夫-罗宾斯音乐治疗与以音乐为中心的音乐治疗之间存在着一种相互构成的关系前一个术语指的是音乐治疗的整体方法，包括特定的理论、干预策略、技术、研究模式、评估和评价形式以及价值观；后一个术语指的是一个人可以采取的立场（很像以客户为中心或指示），可以在各种临床方法中实施。本文将NRMT的临床模式与音乐中心思维所代表的特定视角联系起来。本文首先简要介绍了音乐中心思想的哲学基础，扩展了哲学家约翰·杜威和音乐哲学家大卫·艾略特的观点。接下来的两个主要部分中的第一部分更详细地介绍了以音乐为中心的音乐治疗的一些核心方面，并展示了NRMT的特定组成部分如何反映这些以音乐为中心的思维元素。第二个主要部分颠倒了这种分析策略，并分析了NRMT的一些核心概念，以展示以音乐为中心的戒律是如何在其中呈现的。1958年，当NRMT的两位开发者保罗·诺多夫和克莱夫·罗宾斯第一次见面时，以音乐为中心的想法就隐含在NRMT的起源中。以音乐为中心的观点反映在他们形容自己的工作为“作为治疗的音乐艺术”的短语中“以音乐为中心”这个词首次作为音乐治疗的描述出现在20世纪80年代中期，当时是以“邦尼基金会”的名义出现的：一个由海伦·邦尼、芭芭拉·赫瑟和卡罗琳·肯尼创立的以音乐为中心的治疗研究所。该术语的后续使用几乎都是由撰写引导图像和音乐（GIM）或NRMT的作者使用的，尽管这并不是说该方法仅限于这些模型。虽然以音乐为中心的思想为NRMT的起源提供了信息，但自1959年以来工作的NR治疗师的详细临床探索和报告为音乐为中心的音乐治疗的一般理论提供了独特的贡献。因此，本文的重点是详细介绍NRMT的理论和实践反映潜在的以音乐为中心原则的一些方式。在NRMT的保护伞下有广泛的实践。虽然该模型的整体视角是以音乐为中心的，但对于诸如以音乐为中心的戒律是否与心理动力学考虑相补充或矛盾等问题，人们的意见存在差异。然而，即使是像Alan Turry（1998）这样的实践者，他们也以一种承认为该模型提供基础的以音乐为中心的方式，将心理动力学实践轻松地整合到NRMT中。正如以音乐为中心的思维并不局限于NRMT的实践者，这些实践者也不局限于以音乐为中心的思维方式。考虑到这些警告，所有关于以音乐为中心的思维和NRMT之间联系的讨论都应该被理解为一种趋势，而不是严格的划分。此外，NRMT并不是一个统一的实践。在接下来的材料中，关于NRMT由什么组成的一般陈述应该主要被理解为指的是具有其发起人特征的实践形式，而不是作为一个整体的模型，其中包括一些当代的变化。以音乐为中心的音乐治疗的起源与定义许多因素推动着音乐治疗中以音乐为中心思想的当代发展。个人维度。音乐治疗中以音乐为中心的观点深深植根于个人的音乐体验。因此，有必要详细说明我提出这一观点的一些原因。我做音乐治疗的动机源于音乐经历，它极大地丰富了我的生活。…
There is a mutually constitutive relationship between Nordoff-Robbins music therapy (NRMT) and music-cen- tered music therapy.1 The former term designates an overall approach to music therapy with specific theories, intervention strategies, techniques, modes of research, forms of assess- ment and evaluation, and values; the latter term designates a stance that one can take (much like being client-centered or directive) that can be implemented within a variety of clinical approaches. The present article draws connections between the clinical model of NRMT and the particular perspective represented by music-centered thinking.The article begins with a brief introduction to the philosoph- ical foundations underlying music-centered thinking, expand- ing on ideas from the philosopher John Dewey and the music philosopher, David Elliott. The first of two main sections that follow includes a more detailed look at some of the central aspects of music-centered music therapy and shows how par- ticular components of NRMT reflect these elements of music-centered thinking. The second main section reverses this analytical strategy and analyzes a few of the core notions of NRMT to show how music-centered precepts are present within them.Music-centered ideas were implicit in the origins of NRMT in 1958 when its two developers, Paul Nordoff and Clive Robbins, first met. A music-centered perspective was reflected in the phrase they employed to describe their work as the art of music as therapy.2 The first published appear- ance of the term music-centered as a descriptor of music therapy was in the mid-1980s in the name of the The Bonny Foundation: An Institute for Music-Centered Therapies, founded by Helen Bonny, Barbara Hesser, and Carolyn Kenny. Subsequent uses of the term were made almost exclusively by authors writing about guided imagery and music (GIM) or NRMT, although this is not to say that the approach is limited to those models.While music-centered thinking informed the origins of NRMT, the detailed clinical explorations and reports of scores of NR therapists working since 1959 offer a unique contribu- tion to the general theory of music-centered music therapy. Hence, the focus of the present article is to detail some of the ways that the theory and practice of NRMT reflect underlying music-centered principles.There is a wide spectrum of practice under the umbrella of NRMT. While the overall perspective of the model is music- centered, there is a diversity of opinion regarding issues such as whether or not music-centered precepts complement or contradict psychodynamic considerations. However, even those practitioners such as Alan Turry (1998) who comfortably integrate psychodynamic practices within NRMT do so in a way that acknowledges the music-centeredness that provides the foundation for the model. And just as music-centered thinking is not restricted to practitioners of NRMT, these prac- titioners are not restricted to thinking only in music-centered ways. Given these caveats, all of the discussions regarding the connections between music-centered thinking and NRMT should be understood as tendencies rather than as strict delin- eations. Moreover, NRMT is not a uniform practice. In the material that follows, general statements about what NRMT consists of should be understood primarily as referring to the form of practice that characterized its originators rather than to the model as a whole, which includes some contemporary variations.Origins and Definition of Music-Centered Music TherapyA number of factors are driving the contemporary develop- ment of music-centered thinking in music therapy.Personal dimension. The music-centered perspective in music therapy is deeply rooted in one's personal experience in music. Consequently, it is relevant to detail some of my own reasons for developing this perspective. My motivation to do music therapy stems from musical experiences that have enriched my life immeasurably. …