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E-Book of Articles - World Federation of Music Therapy

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Sutton, Julie; Beyond the Ordinairy<br />

response to two different kinds <strong>of</strong> conflict. The underlying feature is this<br />

loss <strong>of</strong> one’s physical, emotional and psychological sense <strong>of</strong> security. While<br />

in essence linked with the ancestral defence against survival threat, this<br />

sense <strong>of</strong> loss also has roots in infant experiences <strong>of</strong> abandonment and<br />

separation. At moments in human development, while not necessarily a<br />

physical reality, one’s very survival can feel to be under threat.<br />

In Jerry's case this was compounded by the range <strong>of</strong> coping mechanisms<br />

prevalent in the whole community, to the extent that he had become<br />

silenced. In the earlier sessions he had tested how safe the therapy setting<br />

could be and developed a sense <strong>of</strong> how reliable this was. This enabled him<br />

to begin to voice some <strong>of</strong> what he had been unable to speak about. This he<br />

did first <strong>of</strong> all without words, in his music. There then unfolded the story <strong>of</strong><br />

the "Trap". After the Trap he then voiced, wordlessly, some <strong>of</strong> what I felt<br />

was the "nameless dread" that Bion described. At that stage he was in twice-<br />

weekly 50-minute sessions, with the central "Scream" requiring a full 90<br />

minutes from beginning to end. >From that point Jerry's therapy changed<br />

dramatically and much <strong>of</strong> the tension felt previously disappeared.<br />

Trauma and music therapy<br />

I anticipated that by following Jerry's story we have come to some<br />

awareness <strong>of</strong> how music therapy was <strong>of</strong> use to him. At the simplest level it<br />

gave him a space and a voice in a setting that was not available elsewhere<br />

for him. That he was able to make real, creative use <strong>of</strong> this should not be<br />

understated. On another level I feel that the music he made, along with the<br />

music I made and the music we made together served as a container for<br />

what had yet to be expressed.<br />

In thinking about music therapy, my own training developed my awareness<br />

<strong>of</strong> a clinical setting where both client and therapist can be actively<br />

negotiating musical sound and silence. This kind <strong>of</strong> music making has<br />

potential to connect on different levels that also reflect different states <strong>of</strong><br />

being. These states <strong>of</strong> being can be experienced in relation to an "other" and<br />

241

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