ABSTRACT

Introduction: What does the analytical music therapy (AMT) approach have to offer the field of music therapy in terms of listening to manifestations of the unconscious, in both music and speech? Since Freud, dreams have been thought of as the royal road to our unconscious. Mary Priestley, the founder of AMT, integrated concepts from Freud, Klein and Jung in her work with her client’s dreams.

Method: This paper will explore the AMT techniques Priestley developed to work with dreams and situate them in Freudian theory, drawing on literature of AMT, other psychodynamic music therapy approaches, as well as the author’s own training in AMT. The author will also examine what an analytical perspective on musical events during improvisation can teach us about how the unconscious may manifest in music.

Results: Musical events such as sudden rhythmic shifts, polyrhythmic moments and rhythmic ruptures in a musical improvisation can indicate noteworthy moments in which the client encounters his or her unconscious. By recognizing and working with these moments, the music therapist may facilitate further exploration of unconscious content.

Discussion: The implications of these shifts on how meaning can be generated within the frame of AMT will be discussed. The author argues that it is clinically useful to distinguish an understanding of the Freudian dynamic unconscious from a more general sense of the unconscious.

摘要

简介：在听音乐和语音中无意识的表现方面，分析音乐治疗（AMT）方法必须为音乐治疗领域提供什么？自弗洛伊德以来，梦一直被认为是通往我们无意识的皇家之路。AMT的创始人玛丽·普里斯特利（Mary Priestley）将弗洛伊德（Freud），克莱因（Klein）和荣格（Jung）的理念与客户的梦想融为一体。

方法：本文将探讨Priestley为实现梦想而开发的AMT技术，并将其置于弗洛伊德理论中，并借鉴AMT的文献，其他心理动力音乐疗法以及作者自己对AMT的训练。作者还将研究即兴演奏过程中对音乐事件的分析观点如何教会我们潜意识如何在音乐中表现出来。

结果：音乐即兴表演中的音乐事件，例如突然的节奏变化，多节奏的时刻和节奏的破裂，可以指示出客户遇到自己的昏迷状态的值得注意的时刻。通过识别并处理这些时刻，音乐治疗师可以促进对潜意识内容的进一步探索。

讨论：将讨论这些转变对如何在AMT框架内产生含义的影响。作者认为，将对弗洛伊德动力学无意识的理解与对无意识的更一般的认识区分开在临床上是有用的。