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Dissertation - World Federation of Music Therapy

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Based on his study Jungaberle formulated a theory <strong>of</strong> “the metaphorical circle”:<br />

1) Extramusical structures influence the music experience, when we hear or project<br />

specific qualities from our life world into the music.<br />

2) Intramusical structures (the music experience) have an impact on our life<br />

experience, when we extract or transfer qualities from the music that gives meaning to<br />

our life.<br />

Structures are transferred both ways - through the metaphor. And thus metaphors<br />

provide clients and therapists in improvisational group music therapy with "maps" <strong>of</strong><br />

musical experiences.<br />

The specific role <strong>of</strong> metaphors in BMGIM is discussed in section 3.7.<br />

3.6.4 Three levels <strong>of</strong> music – or a metaphorical listening to four selections <strong>of</strong><br />

baroque music<br />

Bruscia (1998) describes four specific levels <strong>of</strong> music therapy intervention which are<br />

also linked to the status, training and clinical responsibility <strong>of</strong> the therapist. He calls<br />

them auxiliary, augmentative, intensive, and primary. Dileo-Maranto (1993) proposes<br />

three levels <strong>of</strong> clinical practice: supportive, specific, and comprehensive. In this<br />

section three psychological levels <strong>of</strong> music itself are suggested, in a process <strong>of</strong><br />

metaphorical listening referring to the theories <strong>of</strong> music as analogy and metaphor<br />

described above.<br />

When talking about 'music' in the context <strong>of</strong> pain management, alleviation <strong>of</strong> stress or<br />

anxiety, and psychotherapy it is important to be specific. Not all music has the<br />

potential <strong>of</strong> pain or stress relief. And when music is used in psychotherapy we must<br />

differentiate. <strong>Music</strong> may labelled supportive, regenerative and so on. However, it<br />

would be sad if the music <strong>of</strong> Mozart, Mahler, Messiaën, Mendelssohn or Miles Davis<br />

should be considered primarily on the basis <strong>of</strong> their medical or psychotherapeutical<br />

potential, and not on their experiential, existential and aesthetic qualities. <strong>Music</strong> can<br />

be arousing, hypnotic, anxiety provoking, mind healing or shattering, a source <strong>of</strong><br />

inspiration or spiritual vision – it is like a magic mirror enabling a listener, be it a<br />

client or a therapist, to find answers to deep existential questions. No clear distinction<br />

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