The National ibrar s, feanes ir Aaency Utes teat acto under | Mele can anys A Comparative Analysis of the Philosophical Underlying Creative Music Therapy and Analytical Music Therapy ‘Susan Hadley, PRD. MLT- B.C. Sippery Rock Universi, Philedelphia, USA. Abstract ‘This article deseribes Creative Music Therapy and Analytical Music Therapy and ‘examines the philosophical premises underlying each mode! of improvisational ‘music therapy. Comparisons are made in corms of what constitutes health or weliness and pathology (intrapersonal, interpersonal and transpersonal) and éynamies of therapy (focus, role of music, client-therapist relationship and client. ‘music relationship). This comparative analysis proposes that these two models of improvisational musie therapy represent distinctly diferent paradigms. ts argued that each model works with different premises about the individual and the goal of therapy. Furthermore, each places a different emphasis on the role of ‘music in therapy. CCreative Music Therapy (developed by Nordoff and Robbins) and Analytical ‘Music Therapy (developed by Mary Priestley) are the two most prominent models of improvisational music therapy. Although Creative Music Therapy was originally developed for use with children wich intellectual, emotional and/or physical isabiities and Analytical Music Therapy for use with adults with psychiatric isorders, both Creative Music Therapists and Analytical Music Therapists now ‘work with a wider range of clientele. Since therapists from both models work with similar clientele, can these models be integrated for use by one therapist, or do they represent two very diferent paradigms? How is pathology conceptualized in ‘each? Therapy? Wellness? How is musie concepsualized in terms ofits importance ‘as a therapeutic tool! In order to explore these questions a comparative analysis, ‘was undertaken to analyse and compare the philosophical premises underlying these ‘wo models af improvisational music therapy. Inthe music therapy literature, there are several descriptions of Creative Music ‘Therapy (Aigen 1996a & b, 1997; Ansdall 1995; Bruscia 1987; Lee 1996; Nordoff & Robbins 1971, 1977 & 1983: Robbins 1996; Robbins & Robbins 1980) and Analytical Music Therapy (Brusca 1987; Langenberg et al 993; Pristiey 1975, 1994; Scheiby| Volume 10, 1999 The Austratian Journal of Music Therapy ‘made rom the Cy ee copies oie pyright Furor ‘under fcence fons ofthis4 1991). However, within this body of literature there is no systematic comparison of the fundamental premises underiying each. A comparison ofthis kind wil provide greater carity of the salient features of each, and wil, in tum, allow for a more thorough exploration of che similarities and differences between ther, Historleal Perspectives and the Therapeutic Processes: ‘An Overview ‘Creative Music. Thesapy Creative Music Therapy was orginally developed, in 1958, by Paul Nordoft, an ‘American pianist and composer and Ciive Robbins, an English special education teacher, They worked together with children with intellectual, emotional, psychiatric andlor physical disabilities. After Nordof's death in 1977, Clive Robbins ‘continued to develop the model with his wife, Carol Robbins. Although the approach has evolved considerably over recent years, especially through the work of Pavlcevic (1990, 1995), Pavicevc & Trevarthen (1989), Ansdell (1995), Aldridge (1996) and Lee (1996), the underlying philosophical premises have largely been ‘maintained. Therefore, in this article the analysis has been mainly limited to the original work of Nordoff and Robbins. In Creative Music Therapy therapists may work in pairs or alone. The ‘herapist(s) generally begin therapy by improvising music that matches diverse aspects of che lent’s emotional andlor physical state, By meeting the client ‘musically, the therapist creates an accepting and responsive atmosphere while also ‘making contact with the client (Nordof & Robbins, 1977). This continual moment by moment reflection of the clients state, communicates that the therapist hears and understands the client which, in turn, builds a level of rapport with the client ‘Once some form of contact with the client has beon established in the therapists musie, the therapists) works to evoke active musical responses, instrumental or vocal, from the client. The therapist{s) uses a wide variety of ‘musical techniques to evoke and engage the client's sounds and rtythms including reflecting, modeling, imitating, repetition, and turn-taking (Brusca, 1987). The therapis(s) helps che client contro! and organize his oF her sounds so that they can be further developed (Nordoff & Robbins, 1977) ‘The therapists) also works to build the cliont’s repertoire of skills and to let him or her experience expressive freedom in the music. This enhances the client's awareness of the expressiveness and interresponsiveness of music and his for her ability to engage the music for those purposes. Certain basic musical skills ‘must be mastered as stepping stones to new expressive options for the client. The Australian Journal of Music Theropy Volume 10, 1999‘One fundamental skil isco maintain a basi beat. Changes in loudness and speed can sls0 be introduced and explored. Simple rhythms and melodies may be elicited, progretting to more complex rhythms and melodic phrases. The mastery ofthese ‘lls bulls a repertoire of responses that allow for expressive mobitity and creativity. Significant musical motifs that emerge ina session may be re-introduced and built upon in subsequent sessions. These mots may then develop into a specaly individualized song or activity, which may then be grouped into an individualized repertoire of musical material, specifiealy meeting the needs of that indvidual cient ‘These compositions help to provide a sense of continuity and consistency between ‘Anaiyial Music Therapy ‘Analyieal Music Therapy was orginally developed, inthe early 1970s, by Mary Priestley, Marjorie Wardle and Peter Wright, music therapy colleagues ina psychiatric hospital Together they developed various techniques and experimented ‘with each other before using them with their adult prychiatrle clients. Priestley continued to develop the mode! and was the only one ofthe three to use it throughout her fe work. Priest also provided training in Analytica! Music ‘Therapy. As part of the training students are required to undergo personal psychotherapy sestions. The approach has therefore evolved inthe work of many ‘of is proponents (Langenberg, Frommer & Tress 1993: Scheiby 1991). depending on the method of psychotherapy undertaken, Despite this, many ofthe fundamental promises have been mainained and so the anayssin this article has been limites to the work of Priestley In Analytical Music Therapy the first step in the session isto identify an ‘emotional issue on whith to work (Priestley, 1994, p.10). The client might tk ‘about what she or he as been fesing, thinking, andlor doing during the week. ‘Once the issue has been identied the therapist will suggest a tie that encapsuates the essence ofthe clients conflict or concer, The title should be suggestive enough to stimulate improvisation but open-ended enough to lic the cient’ {elings and projections Brusca, 1987, p.125). Sometimes the therapist will ask the client to suggest ate. When no issue can be idencied, or conversely 50 many issues have been raised that they have Become tangled. the therapist may move recy to improvising music freely withthe client to see what emerges. Sometimes, i is important to establish what roles the client and therapist will take for the improvisation. The therapist and clent may play different people ina relationship, diferent aspects of an isue or an emotional state, or each person may take on different aspects ofa single person. Roles may then be switched ina subsequent improvisation, Once roles have been estabished, the client improvises Volume 10, 1999 The Australian journal of Music Therapy 5