Zwischen Innen und Außen: Musiktherapie bei Jugendlichen mit strukturellen Störungen

Interfaces of Dialogue: A Mixed Methods Approach to Investigating Intersubjectivity in Dyadic Improvisations

“…Dissimilarity in key velocity and timing and similarity in pitch contour related positively to intersubjectivity level. These findings support music therapists’ use of techniques that both support and challenge clients during improvisation, suggesting that both forms of interaction are important for intersubjective experiences (cf., Bruscia, 1987; Smetana & Storz, 2020; Wigram, 2004). This resonates also with Stensæth (2017), who stated that responsiveness in MT improvisation comprises not only meaningfulness and harmony but also struggle, dispute, and misunderstandings (p.14).…”

“…In a therapeutic context, no special musical knowledge or ability is expected of the client, and artistic goals are not subject to any genre-specific constraints. The therapist has a special responsibility to focus on the client and respond to their playing with techniques that support them, give hold or structure, enhance emotional expression, or challenge and draw them out for a playful, nonverbal acting out of conflicts (Smetana & Storz, 2020). This also includes giving space to the client's creativity, which may trigger non-verbal communication based on a joint and spontaneous interplay of the persons involved (Brown & Pavlicevic, 1996, p. 398).…”

“…The combination of supportive, communicative, but also disclosing and confronting techniques in MT improvisations shifts the therapeutic relationship into the focus of music therapy practice investigated here. According to the therapeutic process, various psychotherapeutic techniques in their non-verbal form, such as holding, supporting, mirroring, grounding, resonating, or containing techniques are applied in MT to address the client's individual needs and stimulate the development of a therapeutic relationship (Bruscia, 1987; Smetana & Storz, 2020; Wigram, 2004). A therapeutic relationship, which is not least a very important parameter for a positive therapy outcome (Wiggins et al, 2012), is not only about a working alliance or an overall “good matching” between therapist and client, but—from a psychotherapeutic view—goes along with the client's intrapsychic development resulting from an encounter between therapist and client, based on intersubjective processes.…”

“…In the form of MT that is investigated here, imitation is characterized by echoing and time-delayed repetition of the client's musical motifs (Smetana & Storz, 2020). Yet, dialogue as a relational quality is not primarily defined in completely coordinated and matching experiences of attunement or even synchrony, but rather arises from mutual challenging, interpersonal difference, and otherness; even conflicts, tension, or friction are considered as characteristic for the experience of dialogic encounter.…”

Musiktherapie und chronischer nicht-maligner Schmerz

“…Neben dem rezipierenden Hören von Musik, das vorrangig in der musikmedizinisch basierten Musiktherapie eingesetzt wird, bezieht die psychotherapeutisch orientierte Musiktherapie die Patient*innen aktiv in die musikalische Interaktion mit ein und weist der therapeutischen Beziehung eine zentrale Bedeutung zu [4]. Die aktive Musiktherapie umfasst improvisatorische, re-kreative und kompositorische Methoden [5].…”