Guided Imagery Combined With Music 2001 Journal of College Student Psychotherapy 03, Vol. 15, Iss. 3

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Guided Imagery Combined with

Music
a
Janet Logan Schieffer , Shelly R. Boughner ,
b a
Kenneth M. Coll & Orla J. Christensen
a
Counseling and Psychology in Education ,
University of South Dakota , USA
b
Counseling and Testing , Boise State University ,
USA
Published online: 11 Oct 2008.
To cite this article: Janet Logan Schieffer , Shelly R. Boughner , Kenneth M. Coll &
Orla J. Christensen (2001) Guided Imagery Combined with Music, Journal of College
Student Psychotherapy, 15:3, 51-69
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Guided Imagery Combined with Music:
Encouraging Self-Actualizing Attitudes

and Behaviors in At-Risk
Community College Students
Janet Logan Schieffer
Shelly R. Boughner
Kenneth M. Coll
Orla J. Christensen
ABSTRACT. This article presents a rationale for the inclusion of imag-

ery techniques in community college counselors’ therapeutic repertoire
for work with at-risk students. The historical, theoretical, and clinical
foundations for the use of imagery techniques are briefly reviewed. The
Houston Model of Guided Imagery Combined with Music (GICM) is
outlined, and the selection of music for the GICM script is discussed. A
case example illustrating each level of Houston’s four stage typology of
imagery is presented to demonstrate the potential affective and cognitive
material evoked by imagery techniques. Procedures for the use of the
Houston Model of GICM and ethical considerations are delineated. [Arti-
cle copies available for a fee from The Haworth Document Delivery Service:
1-800-342-9678. E-mail address: <getinfo@haworthpressinc.com> Website:
<http://HaworthPress.com> 2001 by The Haworth Press, Inc. All rights re-
served.]
Janet Logan Schieffer is Assistant Professor, Counseling and Psychology in Educa-

tion, University of South Dakota.
Kenneth M. Coll is Associate Professor, Counseling and Testing, Boise State Uni-
versity.
Orla J. Christensen is Professor, Counseling and Psychology in Education, Univer-
sity of South Dakota.
Journal of College Student Psychotherapy, Vol. 15(3) 2001
 2001 by The Haworth Press, Inc. All rights reserved. 51
52 JOURNAL OF COLLEGE STUDENT PSYCHOTHERAPY
KEYWORDS. Guided imagery, self-actualization, community college

students
INTRODUCTION
The apparent increase of at-risk community college students with

significant psychological and academic problems poses a challenge to
community college counselors (Ashley, Barr, & Lattuca, 2000; Coll,
1996). Interventions that target characteristics of self-actualizing indi-
viduals as defined by Maslow (1968) may afford at-risk community
college students a greater opportunity for achieving success in the edu-
cational arena. Self-actualizing individuals may be described as having
garnered a cloak of mental toughness or resilience and as having the
perseverance to successfully meet the rigors demanded in higher educa-
tion. Maslow (1971) stated that the primary goals for students of the
ideal college would be, “the discovery of identity, and with it, the dis-
covery of vocation” (p. 183). The Houston (1982, 1993, 1996) Model of
guided imagery combined with music (GICM) is designed to elicit
characteristics of self-actualizing individuals as defined by Maslow
(1968). This article presents a rationale for the use of imagery as a coun-
seling intervention. The use of Houston’s (1982, 1993, 1996) Four-Stage
Model of GICM for increasing the self-actualizing attitudes and behav-
iors of at-risk community college students is outlined. Procedures for
the counselor’s use of imagery and music, as well as guidelines for mu-
sic selection are discussed.
AN OVERVIEW OF AT-RISK
COMMUNITY COLLEGE STUDENTS
Self-actualizing implies personal growth and emotional maturation–both

paramount aspects of the learning process. Coll’s (1996) research indi-
cated that it could not be assumed that the frequency, severity, and kinds
of problems experienced by university and four year college students
also applied to community college students, as this student population
tended to be older, more diverse (Mau & Heim Bikos, 2000), less aca-
demically-skilled, as well as generally more anxious than university
Schieffer et al. 53
and four year college students. Research indicates that a higher inci-
dence of personal and academic stressors, combined with inadequate
career and life direction, place many community college students at

risk, particularly when compared to their university counterparts
(Ashley, Barr, & Lattuca, 2000; Coll, 1995). Further factors that com-
plicate some community college students’ chances to succeed include
low motivation, academic disadvantage, discouragement, disrupted and
conflicted family backgrounds job pressures, and inadequate interper-
sonal and academic skills (Coll, 1995; Skorupa, & Agresti, 1998).
Many students attending community colleges come from segments of
the population that rarely attend college (Coll, 1993).
Levine and Nidiffer (1996) reported that fifty-three percent of all col-
lege students with family incomes under $14,000–below the poverty
line for a family of four–attend community colleges. These students are
eight times less likely to graduate from either community colleges or
four-year colleges. Community college counseling centers generally
prefer enhancing students’ strengths to undue focus on pathology. The
technique of imagery fits this orientation as it taps the power of the
imagination and students’ innate healing capacities.
IMAGERY
The usefulness of imagery and music has been well established in

disciplines ranging from sports psychology to medicine (Bresler &
Rossman, 1993; Rider & Achterberg, 1989; Weil, 1995). In addition,
imagery has been used throughout time as one method for healing the
body and the mind, as well as developing higher human faculties, such
as creativity and wisdom (Achterberg, 1985; Achterberg, Dossey &
Kilkmeier, 1994; Houston, 1993; 1996). According to Houston (1993),
throughout history many creative thinkers, such as Einstein, have used
imagery as a primary source of knowing. Houston (1996) concluded
from her research over the past thirty years that the brain could process
millions of images in split seconds; therefore, imagery as a counseling
intervention may have an advantage over verbal therapies and may
bring about longer-lasting changes. Several researchers (Achterberg et
al., 1994; Bonny & Savary, 1990; Campbell, 1997; Kasayka, 1991;
Russell, 1992), including Houston (1996), suggest that combining the
guided imagery text with music intensified therapeutic goals and expe-
rience.
Abraham Maslow (Hall, 1968) stated that the power of visual imag-
ing and music changed his life in 1941 as he watched a parade the day
after the bombing of Pearl Harbor. That moment led to his founding of
humanistic-transpersonal psychology and the development of his theo-
ries of self-actualization and transcendence (Maslow, 1968). Gendlin
(1978) referred to the new knowledge and accompanying energy an in-
dividual receives from such moments as a felt shift. When a felt shift oc-
curs, the individual has a perceptual or paradigm shift that results in atti-
tudinal and behavioral change. Gendlin’s (1978) felt shift may be elic-
ited via peak experiences.
Maslow (1968) found from his research that entering into a peak ex-
perience could remove symptoms, change individuals’ view of them-
selves in a healthy way, change individuals’ views of other persons and
their relations to them, change permanently individuals’ view of the
world or aspects of it, release creativity, spontaneity, expressiveness,
and demonstrate the existence of beauty, excitement, honesty, play,
goodness, truth, and meaningfulness, thus leading individuals to feel
that life is more worth living. Furthermore, Maslow (1968) concluded
from his studies of the peak experiences of individuals that the charac-
teristics of peak experiences and psychological health are linked.
Within counseling, a similar process may be replicated through the
counselor’s use of imagery. Imagery and other creative interventions
may assist the client in integrating new levels of awareness with health-
ier patterns of living. Masters’ and Houston’s (1972) and Houston’s
(1982, 1993) research has generated a series of creative interventions
aimed at enhancing physical, mental, and creative abilities of individu-
als. Guided imagery combined with music is one intervention believed
by Masters and Houston (1972) to release entelechy or self-actualizing
tendencies.
HOUSTON FOUR-LEVEL TYPOLOGY

OF GUIDED IMAGERY
Masters’ and Houston’s (1972) and Houston’s (1982, 1993, 1996) in-
vestigations with hundreds of participants suggested a four-stage typology
Schieffer et al. 55
of imagery corresponding with a descent into four major levels of the

psyche. Houston (1982, 1993, 1996, 1997) termed these levels (1) the
sensory, (2) the recollective-analytic, (3) the symbolic or mythical, and

(4) the integral or spiritual. Houston believed experiencing these levels
successively through imagery assisted in releasing self-actualizing ten-
dencies. The more levels experienced, the greater the release of self-ac-
tualizing tendencies. Each level of imagery will be described below,
along with examples drawn from Logan’s (1996) study utilizing guided
imagery combined with music with community college students.
At the first level of imagery, the sensory level, Houston’s (1982,
1993) research participants tended to perceive imagery as random color
patterns, checkerboards, and vortices. Imagery may become more spe-
cific with pictures, scenes and faces, but is disconnected and without
any particular meaning. For example, in Logan’s (1996) study, one par-
ticipant reported becoming acutely aware of the sensations in all of her
body. She felt wrapped up in a white blanket of light. Another partici-
pant reported flashes of white, purple, and green that would change as
the guided imagery script and music changed.
Houston (1993) stated that individuals who even become more at-
tuned to the sensory level of imagery become more creative and sensi-
tive in the use of the body-mind and more sensitive concerning ecologi-
cal and symbiotic relationships which are perceived as a thou. An I/thou
relationship implies an honoring and respectfulness for the world and
its inhabitants (Buber, 1923/1970). Thus, as an individual moves to-
ward the positive development of the self, the individual also moves to-
ward creative acts and socially interested behaviors. Experience at the
sensory level will enable individuals to experience the other three imag-
ery levels. The symbolic images at the other levels of imagery will as-
sist individuals in problem-solving processes, eventually advancing in-
dividuals toward self-actualizing attitudes and behaviors.
At the second level of imagery, the recollective-analytic level, the
participants in Houston’s (1982, 1993, 1997) research experienced an
exploration into their past, problems, and potentials, in a way somewhat
similar to psychoanalysis. Houston (1982, 1993) claimed that memo-
ries, both verbal and visual, are more accessible at this level of imagery,
and visual thought seems to include a freer flow of imagination and fan-
tasy. Oftentimes participants experiencing the recollective-analytic
level will report a life review and working toward resolution of previ-
ous, current, and projected future events and goals, and recognition of
strengths and talents. One participant who had been sexually abused as
a child (Logan, 1996) reported seeing and talking to herself as a child from
her current adult perspective. The participant reported realizing for the first
time from an integrated, coherent perspective (Young-Eisendrath, 1996)
that the sexual abuse was not her fault. Other participants reported let-
ting go of past hurts and grief and feeling they could move on with their lives.
The third level, the symbolic level, is considered by Houston (1982,
1993, 1997) to be a deeper level of imagery. Houston (1982, 1993,
1997) conjectured that this level requires prior experience of the
recollective-analytic level, as there is a development of mythopoeic
symbolism, in which the participants’ lives are viewed in terms of guid-
ing patterns or goals, symbolized, as in a myth-making process. At this
level, imagery for participants involves symbolic images which are pre-
dominantly historical, legendary, mythical, ritualistic, and archetypal.
Participants see images of rituals in which they participate with all of
their senses and with emotion. Often the symbolic dramas that occur are
related to the person’s life and problems. Houston (1993, 1997) be-
lieved that participants’ experiences at this level could significantly en-
hance maturation toward self-actualizing tendencies. One participant in
Logan’s (1996) study saw himself in the Sistine Chapel. He saw his fa-
ther playing one of his pieces on the piano. The participant’s father had
died when he was sixteen. He and his father walked on the beach to-
gether and his father shared his hope for his son.
The fourth level, the integral or spiritual level, is characterized by
Houston (1982, 1993, 1997) as imagery experienced as a type of struc-
turing, dynamic energy rising up from the depths that informs, ener-
gizes, and ‘reframes’ experiences at the other three levels. This level
represents the highest level of psychic integration and is akin to Jung’s
(1965) mundus archetypal experiences or Maslow’s (1968) peak expe-
riences. Experience at this level provides participants a sense of com-
munion and commitment to the social and ecological orders of the
world and are believed by Houston (1993, 1997) to permanently change
an individual. As described above, Maslow (Hall, 1968) reported a vi-
sual imaging and music experience that was life changing for him and
seemed to represent the integral or spiritual level of imagery as defined
by Houston (1982, 1993, 1997). During the integral or spiritual part of
Schieffer et al. 57
the second GICM session in Logan’s (1996) study, participants were

asked to use their imaginations to visualize an imaginary self that could
change, expand, and develop in its own particular way, both physically
and spiritually. The participants were asked to experience what it was
like to be so large. One participant reported seeing herself change from
a droplet of water and then begin to expand and change into the Atlantic
Ocean. From this perspective, the participant saw the world as an anthill
disturbed, and did not understand what all the discontent on earth was
about. The participant reported that the session stayed with her and of-
fered her a sense of wanting to make a difference in the world through
her chosen career.
THE ROLE OF MUSIC IN ELICITING SELF-ACTUALIZING

ATTITUDES AND BEHAVIORS
Congruent with Houston’s (Campbell, 1992) thinking concerning the

role of music in enhancing the self-actualization process, Bonny (1978b)
developed an innovative approach to listening to classical music for the
purpose of self-exploration, self-understanding, growth, healing, and
transformation (Guzzetta, 1991). Music has been viewed as an avenue for
enhancing self-actualizing tendencies via the properties it holds in com-
mon with imagery (Bonny, 1986). Bonny (1978b, 1980), Bonny and
Savary (1990), and Campbell (1997) found classical music to be the most
conducive of all types of music for eliciting self-actualizing attitudes and
behaviors. Bonny (1978a) defined classical music as art music of the
Western culture, enduring time and not tied to any specific era. Bonny
(1990) recommended musical selections with well-integrated and clearly
focused moods as they had a greater effect upon individuals than music
with frequent or abrupt mood changes. She noted that the greater the am-
biguity of the music, the more imagery music elicited.
BASIC PROCEDURES FOR USING GUIDED IMAGERY

COMBINED WITH MUSIC IN COUNSELING
How the counselor introduces GICM to clients and the steps the
counselor uses in the process of conducting the GICM session are of
central importance in assisting clients to accomplish their counseling
goals. The following basic procedures are for work with individual cli-
ents, although with some modification may also be used with a group.
First, the counselor must obtain clients’ permission to participate in

GICM. Russell (1992) found from her research with GICM and state or
trait anxiety that a few college students voiced objections (i.e., reli-
gious) to the imagery process. As part of the informed consent process,
the counselor must explain the potential benefits and risks associated
with GICM (American Counseling Association, 1995; American Psy-
chological Association, 1992). For example, imagine a 30-year-old
Hispanic student, named Jessica, who was sexually abused as a child
and is now a single parent. Jessica presents for counseling to overcome
some of the negative beliefs she holds about herself that hinder her abil-
ities to focus on her strengths and her abilities to succeed in school and
relationships. A potential benefit for Jessica would be to assist her in be-
lieving more fully in her own value and worth. A possible risk is that
GICM may elicit uncomfortable or painful childhood images if the
GICM session is not judiciously processed with the counselor, and
Jessica may possibly reexperience trauma without resolution. The
counselor must reassure Jessica that should any negative images occur,
the images are, nevertheless, healing images and have presented them-
selves because Jessica is now ready to re-vision (Houston, 1996) the
wounding that occurred when she was a child. Jessica may discover a
new, larger story contained within the wounding that may add even
more strength, courage, and meaning to her life (Houston, 1997).
Second, clients may have some fears about the process, such as los-
ing control, reliving painful situations, falling asleep and snoring in a
group situation, or revealing embarrassing information about them-
selves. Typical questions may include: How will it feel? Am I being
hypnotized? How much control will I have over myself during GICM?
The counselor may wish to explain that the individual is in control of the
process and works as a collaborative partner with the counselor. Hous-
ton (1997) strongly believes that participants are in charge of their expe-
rience and that counselors must refrain from interpreting or making
judgments about the meaning of the participants’ experiences.
A third consideration before beginning a GICM session is to provide
clients with an overview of the GICM process. This includes explaining
the sequence of experiences of the Houston (1982, 1993, 1997) Model
Schieffer et al. 59
of GICM script to clients: (1) induction through relaxation; (2) the four
level typology of guided imagery script; (3) termination; and (4) the
processing of the experience. The purpose is to alleviate any concerns

or questions clients may have and to prepare them for the GICM experi-
ence. Logan (1996) selected and then adapted GICM scripts to the spe-
cific needs of community college students from Earley’s (1990) and
Houston’s (1982) imagery workbooks. The steps of the Houston Model
(1982) of GICM will be illustrated using excerpts adapted from a script,
“Befriending Yourself” in Earley’s (1990) workbook that is based on
the work of Jean Houston (1982) and was used in Logan’s (1996) study.
The four-stage typology of imagery described above will be illustrated
within the script as well. It is important to realize that the four-stage
typology may not occur in a linear fashion for clients, since imagery is
not a linear, sequential process.
Step One: Induction Through Relaxation
During step 1, induction through relaxation, the counselor guides the

student to both muscle relaxation and a calm mind (Earley, 1990). In-
duction through relaxation begins to focus on the sensory level of
GICM script, although the sensory level of the GICM is further ex-
panded throughout the entire experience. Often the counselor makes
suggestions for releasing stress and tension. As part of the instructions,
the counselor may want to inform clients that they can stop the process
by simply opening their eyes (Cohen & Twemlow, 1981). Music estab-
lishes the mood for the guided script and is specifically selected to en-
hance the learning experience and help clients relax. Preferably, clients
are unfamiliar with the music selections, so they do not already have
meaning attached to the music selections for them.
The counselor will want to have each of the musical pieces recorded
on a tape or CD in the order that the counselor will be using them. Re-
cording a musical selection, such as Pachelbel’s “Canon” (Palmer,
1991, Track 2), several times in a row on a tape or CD can be useful, so
the counselor does not have to worry about the piece of music ending
before the portion of the script with which it coincides is completed.
The recording should be as free of distortion as possible. While the
counselor is reading the script, s/he may wish to keep the music at a
lower volume, so the music does not compete with the counselor’s
voice. When the counselor wants clients to utilize the music to enhance
their images, the counselor will want the music to fade in. The coun-
selor will also want to pay attention to voice quality–speaking clearly,

slowly, and soothingly. Words should come out at a measured, even
pace, almost as if following a metronome’s beat. The counselor’s voice
should communicate trust, comfort, and relaxation. The following is an
example of step one, induction via relaxation that is adapted from
Earley (1990, p. xli-xlii). The music selection is Pachelbel’s “Canon”
(Palmer, 1991, Track 2). The rationale for selection of this piece will be
discussed under the section titled Music Selection.
You may wish to find a comfortable place to be. Where you are
able to relax. Close your eyes and begin to turn your attention in-
ward. Pay attention to the physical sensations where your body is
being supported by the floor or the pillow or the chair. As you do
this, you may find yourself becoming more relaxed and quieter in-
side. Now begin to focus on the music. (Allow 30 seconds and
have the music fade in). Let the music carry you. Let your body re-
lax, and relax as the mind becomes absorbed in the music (Allow a
minute and have the music fade in). Bring your attention to your
breathing. Keep your awareness focused on your breathing. Listen
to the music, which carries you into a quiet state. (Allow a minute
and have the music fade in). You are moving deeper inside your-
self, becoming still inside. Settling down gently; letting go. You
may notice the lower bass drone of the music, its slow beat, and
how the deep notes will resonate peace and relaxation through
your body; the higher melody, defined by the violins, will enchant
and delight your mind, taking you deeper and deeper to those still
places of safety and rest. Feeling very comfortable and safe. Be-
coming quiet inside, with nothing to worry about, no place to go or
nowhere to be.
Step Two: The GICM Script
During step two, the four levels–(1) the sensory, (2) the recollective-an-
alytic, (3) the symbolic or mythic, and (4) the integral or spiritual of the
GICM script are introduced for clients to experience. This part of the
GICM script again directs attention to the sensory level. In the ex-
cerpted script that follows, “Befriending Yourself,’’ adapted from
Schieffer et al. 61
Earley (1990, pp. 26-29), the script continues to provide a safety net for
clients by asking them to create a sanctuary of their liking. The sensory
level is primarily being accessed. An example of this portion of the

script is as follows:
Imagine that you are in a sanctuary of your own creation. This may
be your own home or one of your imagination–a place where you
feel safe and secure, at peace. You begin to explore this wonderful
place. (The counselor pauses and the music fades in as the client
explores each room in the sanctuary). Look around and see how
many of the details you can make out. What feeling do you get
from this place? Walk over and look out the window. How does
the view affect you? What’s outside? Notice all the details, the col-
ors, the shapes, how things are organized. What do you smell?
What feeling do you get from each room? How comfortable is it?
How pleasing is it to you visually?
During this segment of GICM, Pachelbel’s “Canon” (Palmer, 1991,

Track 2) continues to play softly in the background.
Next, the GICM script accesses the second level of Houston’s
four-stage typology, the recollective-analytic. Clients are asked to meet
“themselves” in their sanctuary and talk to themselves about the pains,
joys, strengths, and the like that they have shared with themselves.
Thus, the goal is for clients to begin to explore and heal any wounding
from the past that may be interfering with their capabilities. With the
script as a tool, clients explore their life’s meaning. Hopefully, clients
can see and grasp new solutions as real and attainable and view them-
selves as powerful enough to take charge of their choices. The music se-
lected for this portion of the imagery is Albinoni’s “Adagio” (Kegel,
1991, Track 8).
As the music changes, it will help you to get ready for a surprise
visit from an old, and treasured friend. You do not know who is
coming, simply that it is someone who has been with you every
step of life’s journey. You hear a knock on the door and know your
surprise visitor is there. Curious as to who it is, you get up and
open it to let the surprise visitor in. The person who appears at the
door is you. You may see yourself visually or sense your presence
or hear your voice. Look into your own eyes. Greet this visitor and
invite this visitor to sit down and across from yourself. Let your-
self feel friendly and caring, the way you would when meeting an
old friend, and take in this person from that place. What do you no-
tice about this person? Looking from a larger perspective, who is
this person really? What is unique and special about this person?
Tell this friend about that now. (Allow a minute and have the mu-
sic fade in). As you look at this person, let yourself remember the
pain this person has experienced in life, and open yourself to that.
Feel your compassion for this person, your empathy, just like you
might with a friend in pain. Hurts and sorrows are there, accumu-
lated over a lifetime. This person has pains that this person may
never have shared with another person. Open yourself to this per-
son now, from your most caring place. Become aware of your de-
sire that this person be free from sorrow, and free from pain, and
free from the causes of suffering. Talk to this person, who is you,
about that now. (Allow a minute and have the music fade in).
Next, the third level, the symbolic or myth making realm begins. This
is a very creative part of the process in which the counselor helps clients
to “explore’’ their life’s purpose and to discover new meaning at
deeper, expanded intuitive levels. Hopefully, clients will be able to see
and grasp new solutions as real and attainable. Ravel’s “Pavan Pour
Une Infante Defunte’’ (Ormandy, 1986, Track 7) was selected for this
part of the script by Logan (1996).
Now as the music changes again, become aware of the strengths

and abilities and talents this person has. Appreciate this person just
the way you might appreciate a good friend. Let yourself see and
appreciate the gifts that this friend has already realized in life, and
also appreciate those hidden potentials of which your friend may
only be dimly aware. Deep inside this person may be reserves of
courage, ingenuity, wisdom, wit, endurance, love. Open yourself
to all of these, and feel your joy for this person. Tell this person
about the strengths that you admire now, just like you may with an
old friend. (Allow one minute and have the music fade in). Con-
sider this person’s potential, who this person can become. Con-
sider what this person might do, and be, and accomplish in the
future, and also consider how good it might feel to work with this
person toward a common goal, to collaborate on a project, acting
boldly and trusting each other, supporting each other through dif-
Schieffer et al. 63
ficulties, inspiring each other. Talk to this person now about what
you two can accomplish together. (Allow one minute and have the
music fade in).
The fourth level, the integral or spiritual level, is the final level that is
accessed in the script. Oftentimes, clients are asked to give themselves a
gift that represents the clients’ life meaning or the GICM experience.
The gift is not only given to themselves but to others as well. The music
selected for this portion of the script is a vocal, sacred piece by Faure,
“Paradisium” from Requiem, (Cluytens, 1986, Track 7).
As the music changes, begin to think about how this person has
been with you from the beginning of life’s journey and will be
there until the end. Open your heart to this person now. Feel the
deep connection with yourself that can never be broken. From this
place of strength you can love others more freely, from this place
of peace you can risk more easily. Feel this place of deep self-con-
nection and know yourself whole. (Allow 30 seconds and have the
music fade in).
Now let something emerge, which represents this loving
relationship with yourself. It could be an image, or a phrase, or a
physical sensation, or all three. Hold this in your heart as an an-
chor, as a way of remembering this connection you have now.
The last part of the GICM script is to prepare clients that the GICM
experience is ending by reorienting them to the current reality. An ex-
ample, provided below, is adapted from Earley (1990, p. xliii):
Now gradually begin to come back from the place where you have
been, bringing with you all that you have gained from this experi-
ence. Beginning to come back to this room. Letting this delightful
music be your pathway back to the real world. Taking your own
time. Knowing that what you have gained from this experience of
befriending yourself will go with you in the days, weeks, months,
and years ahead. The music will leave you aware of the many
sources of peace, joy, and delight in the real world. Stretching a lit-
tle, opening your eyes, becoming alert and awake, feeling re-
freshed.
Step 3: Expanding Clients’ Possibilities:

Reflection of GICM Experience
This part of the process requires the counselor to be truly optimistic

and see the clients as fully capable of health and joy. The counselor be-
gins by asking clients to tell about the GICM experience or may ask cli-
ents to journal, draw pictures, make a representation from potter’s clay,
or use a sand tray to express what they gained from the experience. Ini-
tially, this part of the process tends to be content-oriented. Next, the
counselor assists clients in exploring the meaning of the experience and
how it pertains to obtaining their counseling goals. The counselor reas-
sures clients and reframes if necessary any negative images that may
have occurred.
GUIDELINES FOR MUSIC SELECTION
The selected music must be congruent with each part in the guided
imagery script. Although Houston (1993), Early (1990), and Campbell
(1997) recommend both New Age music selections as well as classical
music selections, classical music selections have the most solid and ef-
ficacious research base for selecting the pieces of music for GICM.
Bonny and Savary (1990) utilized Hevner’s (1936,1937) research and
consequent Mood Wheel to categorize classical music pieces according
to one of eight moods. The numbers in the mood column in Figure 1
correspond to the eight mood clusters and refer to the predominant
mood-communications of the selection: (1)–spiritual; (2)–sad; (3)–dreamy;
(4)–lyrical; (5)–playful; (6)–joyous; (7)–exciting; (8)–vigorous. Bonny
and Savary (1990) classified classical music selections according to
Hevner’s Mood Wheel (1937) and used the mood wheel for sequen-
tially placed music.
The Rationale for Music Selections for “Befriending Yourself”
Music recommended by Bonny (1978a,b, 1980) and Bonny and

Savary (1990) may be placed in sequence with Houston’s four level
typology GICM scripts. The research conducted by Bonny and Savary
(1990) indicated that Pachelbel’s “Canon” (Pommer, 1991, Track 2)
corresponded to #4 on Hevner’s Mood Wheel (Hevner, 1936, 1937).
Schieffer et al. 65
FIGURE 1. Arrangement of Adjectives for Recording the Mood Effect of Music

5
6 Humorous
Merry Playful 4
Joyous Whimsical Lyrical
Gay Fanciful Leisurely
Happy Quaint Satisfying
Cheerful Sprightly Serene
7 Bright Delicate Tranquil 3
Exhilarated Triumphant Light Quiet Dreamy
Soaring Dramatic Soothing Yielding
Passionate Tender
Sensational Sentimental
Agitated Longing
Exciting Yearning
Impetuous Pleading
Restless 2 Plaintive
8 Pathetic Mournful
Vigorous Doleful Tragic
Robust 1 Sad
Emphatic Spiritual Melancholy
Martial Lofty Frustrated
Ponderous Awe-inspir- Depressing
Majestic ing Gloomy
Exalting Dignified Heavy
Sacred Dark
Solemn
Sober
Serious
Hevner, K. (1937). An experimental study of the affective value of sounds of poetry. American Journal of
Psychology, 39, 419-434.
According to Hevner’s Mood Wheel, Pachelbel’s “Canon” (Pommer,

1991, Track 2) is a quiet, serene, tranquil piece; thus Pachelbel’s
“Canon’’ (Pommer, 1991, Track 2) seems to assist participants in feel-
ing secure and grounded during GICM and is an appropriate, facilitative
piece for inducing relaxation before participants begin to experience the
four level typology process. For the first level of the GICM script,
Houston (1993) suggests evocative music that is intentionally meant to
stimulate and enhance the four level typology process. For example,
Ravel’s, “Pavan Pour Une Infante Defunte’’ (Ormandy, 1990, Track 3),
was selected for the sensory level as participants explored their sanctu-
ary. This piece corresponds to a #1 and # 3 on Hevner’s (1937) Mood
Wheel and promotes feelings of otherworldliness and is considered up-
lifting; thus participants are invited to create and explore their sanctu-
ary. The piece is also adjacent to the previous piece on the mood wheel;
therefore, there is not a dissonant transition from one piece of music to
another. For the recollective-analytic level and the symbolic or mythic
level, Albinoni’s “Adagio” (Kegel, 1991, Track 8) was used. In con-
junction with the recollective-analytic level of the “Befriending Your-
self” script (Earley, 1990), this poignant sounding music corresponds to
a #1 or #2 on Hevner’s Mood Wheel and assists clients to explore earlier
recollections and to reframe the meaning of any previous experiences.
For the integral or spiritual level, Faure’s “Paradisium” from Requiem
(Cluytens, 1986, Track 7) was selected. This sacred choral piece may
assist in celebration of the gift(s) the individual will bring back from the
GICM experience. Faure’s “Paradisium” (Cluytens, 1986, Track 7) cor-
responds to a #1 on Hevner’s Mood Wheel. According to Ahsen (1991)
image-evoking properties stem from the unique arrangements of
sounds, colors, and words, as well as the inherent spatial, textural, and
sequential qualities of these stimuli. In summary, each of the selected
music pieces are intentionally selected due to their imagery-eliciting
properties that correspond to specific parts of Houston’s (1982, 1993,
1997) Four-Stage Typology of GICM. Thus music is used in concert
with each part of the script.
CONCLUSIONS
Since connections may exist between self-actualizing attitudes and

behaviors, academic achievement, and social interest, the Houston
Model of GICM may have some important suggestions for education
and counseling practice. Since self-actualizing attitudes and behaviors
can be learned and developed, self-actualizing-enhancing activities,
such as GICM, may be useful within a community college student’s ed-
ucational curriculum (Knapp, 1990). Self-actualization enhancement
might provide the basis for a new perspective on ways to evoke human
potential and reach students of varying ages.
Schieffer et al. 67
Community colleges are institutions of hope that assist many at-risk

individuals in succeeding at their life’s goals. The Houston Model of
GICM may be a method for the systematic cultivation of self-actualiz-

ing attitudes and behaviors in at-risk community college students.
Within the community college setting, community college counselors
can provide opportunities for students to participate in creative inter-
ventions, such as GI/CM, that assist with the development of self-actu-
alizing thoughts, feelings, and behaviors–before at-risk community col-
lege students tune out, drop out, or psychogically withdraw.
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RECEIVED: 05/12/00
REVISED/ACCEPTED: 08/23/00

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Guided Imagery Combined with

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Encouraging Self-Actualizing Attitudes

ABSTRACT. This article presents a rationale for the inclusion of imag-

Janet Logan Schieffer is Assistant Professor, Counseling and Psychology in Educa-

KEYWORDS. Guided imagery, self-actualization, community college

The apparent increase of at-risk community college students with

Self-actualizing implies personal growth and emotional maturation–both

career and life direction, place many community college students at

The usefulness of imagery and music has been well established in

HOUSTON FOUR-LEVEL TYPOLOGY

of imagery corresponding with a descent into four major levels of the

sensory, (2) the recollective-analytic, (3) the symbolic or mythical, and

the second GICM session in Logan’s (1996) study, participants were

THE ROLE OF MUSIC IN ELICITING SELF-ACTUALIZING

Congruent with Houston’s (Campbell, 1992) thinking concerning the

BASIC PROCEDURES FOR USING GUIDED IMAGERY

First, the counselor must obtain clients’ permission to participate in

processing of the experience. The purpose is to alleviate any concerns

Step One: Induction Through Relaxation

During step 1, induction through relaxation, the counselor guides the

selor will also want to pay attention to voice quality–speaking clearly,

Step Two: The GICM Script

level is primarily being accessed. An example of this portion of the

During this segment of GICM, Pachelbel’s “Canon” (Palmer, 1991,

Now as the music changes again, become aware of the strengths

music fade in).

Step 3: Expanding Clients’ Possibilities:

This part of the process requires the counselor to be truly optimistic

GUIDELINES FOR MUSIC SELECTION

The Rationale for Music Selections for “Befriending Yourself”

Music recommended by Bonny (1978a,b, 1980) and Bonny and

FIGURE 1. Arrangement of Adjectives for Recording the Mood Effect of Music

According to Hevner’s Mood Wheel, Pachelbel’s “Canon” (Pommer,

Since connections may exist between self-actualizing attitudes and

Community colleges are institutions of hope that assist many at-risk

GICM may be a method for the systematic cultivation of self-actualiz-

ment, 77, 186-194.

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