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Dissertation - World Federation of Music Therapy

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Smeijsters has coined the double conceptualization <strong>of</strong> “pathological-musical<br />

processes” and “therapeutic-musical processes”. They refer to the two core analogies<br />

in clinical music therapy. He underlines that comprehensive experience with and<br />

knowledge <strong>of</strong> these analogies makes it possible to decide whether music therapy is an<br />

indicated treatment or not, and in Grundlagen der Musiktherapie (Smeijsters 1999) he<br />

unfolds the theory within two clinical core areas <strong>of</strong> music therapy, namely psychiatry<br />

(schizophrenia, depression) and special education (autism, developmental disability).<br />

The very close affinity <strong>of</strong> analogy, diagnosis, indication and goals, procedures and<br />

techniques <strong>of</strong> the treatment is carefully worked out.<br />

Coming from a different position and epistemology Thaut (2000) also presents a<br />

fundamental analogy or isomorphy between non-musical and musical therapeutic<br />

exercises, e.g. between social interaction and group improvisation structures. “The<br />

crucial clinical process for music therapists occurs [in] translating functional and<br />

therapeutic exercises and stimuli into functional therapeutic music exercises and<br />

stimuli…” (p. 36).<br />

The analogy between the elements <strong>of</strong> music and the existential themes and qualities <strong>of</strong><br />

human existence is also a core construction in the Improvisational Assessment<br />

Pr<strong>of</strong>iles (IAP) <strong>of</strong> Ken Bruscia (1987, 1994). When developing this method for<br />

description and interpretation <strong>of</strong> clinical improvisations Bruscia looked for concepts<br />

that would give the six "pr<strong>of</strong>iles" – each a specific listening perspective – also<br />

psychological relevance. What he came up with was:<br />

• Salience (with five scales forming a spectrum: compliant, conforming, attending,<br />

controlling, dominating)<br />

• Integration (with the spectrum: undifferentiated, synchronized, integrated,<br />

differentiated, overdifferentiated)<br />

• Variability (rigid, stable, variable, contrasting, random)<br />

• Tension (hypo-tense, calm, cyclic, tense, hyper-tense)<br />

• Congruence (unengaged, congruent, centered, incongruent, polarized)<br />

• Autonomy (dependent, follower, partner, leader, resistor)<br />

77

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