E-Book of Articles - World Federation of Music Therapy

D'ulisse, M. E.. et al.: Application Of The Benenzon Music Therapy ...
the space and stimulation, necessary for the modification in the vital
elements of the individual.
Regarding the first point, the approach of a “free” setting, but with
the presence of semi-rules, prepared the patient for experimentation with
new modes of communication aimed at entering the environment of the
non-verbal and seek out expressive capacities different from the
conventional ones. This was verified by means of:
eye contact with the music therapist and the surrounding
environment.
the search for a prevalently corporal approach to the free space
of the environment.
one.
seeking and understanding the “functioning” of an instrument.
the building of a communicative code different from the verbal
Later, regarding the second point, it emerged that the approach to
new expressive modalities created difficulties in their acceptance and in
maintaining prolonged contact with them; there then occurred a phase,
called “defensive”, in the music-therapy environment that expressed itself
in the continual use of instruments and the fabricating of structures that
were rhythmic, incessant and repetitive. This is a necessary phase until the
patient can trust his unconscious energies to the establishment of a “here
and now” therapeutic.
In the advanced phase of the work, the last point, the acquired use of
the space, the transformation of the instruments from defensive to
intermediary allowed the actuation of the energetic discharge necessary for
communication between the ISO of the patient and that of the music
therapist, a principle of the Benenzonian theory.
Borrowing a view from the experience of the subject in Existential
Analysis (Dasein), the patient can be considered to be affected by essential
hypertension as a form of existence that, living in restricted time and
space, expresses it analogically through the mechanisms of vasoconstriction,
as a restriction of the experience of the patient.
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