23.7. 1993 Vitoria-Gasteiz / Spain - World Federation of Music Therapy

Bruscia observes that educators have battled for
decades about the problem of emphasis on and focus
between musicianship and therapy skills. He links the
debate to the philosophy of whether trainees are
considered to be primarily musicians or therapists -
musis as therapy, or music in therapy (Bruscia, 1987).
However in this paper, I hope I may have taken a
sideways step in the ,debate by concentrating on a point
of integration and connection in our subject. Perhaps
the qualities of music and therapy can enhance and
enlighten each other in their mutual focus on listening
and timing. The supreme attention and listening of
musical accompanists such as Gerald Moore who
support, nourish and stimulate their instrumentalist
partners could prove an inspiring model to therapists
anywhere - music or otherwise. Also the consummate
artistic skill of the experienced personal therapist who
gives attention to musical features of verbal dialogue
1067
(timbre, tone of voice, silence, pattern) can give the
musician new ways to listen to his or her own playing
and living.
Perhaps as a faithful reader of Winnicott, I should be
looking only for the "good enough ear". However, I think
it is worth aiming high and expecting excellent attentive
listening from our trainees, as was demonstrated to me
last year in Carol Robbin's beautiful musical dance with
her 4 year old partner. For as Carolyn Kenny concludes
in her last prose passage in The Mythic Artery
"The music heals, if we will only hear."
and given that attentive waiting state, the combined
listening talents of the musician-therapist should be
dynamite !