书评:Anna Chesner和Sissy Lykou(编辑),《创造性和具象疗法中的创伤:当言语不够时》

IF 0.7 Q4 REHABILITATION British Journal of Music Therapy Pub Date : 2021-11-01 DOI:10.1177/13594575211034952
D. Porter
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He speculates about the relationship between the emergence of atonality and growing awareness, articulated by Freud, of the chaotic and fragmentary nature of unconscious experience, far from the smooth progressions of shared tonal understanding; he cites Schoenberg’s Erwartung as an example of music that ‘. . . seems to take us nearer to extreme or “dissonant” mental states, almost borderline hysterical at times’ (p. 26). The possibility that atonal music may also find forward movement – through shifts in intensity, pace, texture, sound colour and so on – and by those means create an emotional narrative in its own terms, is not considered. Every musically inclined reader will find resonances in this book, but there are some inevitable gaps. As the author is primarily intrigued by the experience of the listener, and by extension by the intersubjective listener/composer relationship, the emotional impact and complexities of actively playing or singing are relatively little considered. For music therapists, especially those who think of their work as psychoanalytically informed, the absence of any discussion of improvisation will also stand out. The possibility of music therapy itself as a therapeutic modality is not raised. Music therapy is mentioned only once in a section which considers some theories of music and emotion in social contexts: the author mentions the work of DeNora, in particular her enquiry into women’s experience of music in ‘. . . exercise classes, karaoke evenings, music therapy sessions, and in the retail sector.’. . (p. 96). It might seem a natural next step, given the author’s preoccupation with musical activity as emotional, relational, and with deep roots in unconscious experience, to explore the possibilities of music therapy itself, especially as there are recurring reminders of the ways in which the language of music may enhance understanding of the psychoanalytic encounter. But that is not for this book. Overall, however, this is a book of discursive exploration which offers, through its wealth of references and examples, the possibilities of plenty of fascinating side turnings off its main path to take the reader further. The absence of any detailed reference to music outside the Western classical tradition might be perceived as a limitation; it should also, however, act as starting point for each of us to consider some of the book’s central questions in our own musical terms. My own encounter with this book has reminded me to be seriously curious about my own musical history, relationship with music and ways of engaging with it, and how those may be played out in clinical practice. When we are in among music every day, clinically and in other ways, perhaps it can become so much part of things that there is less space for some more fundamental questions about why we need it, why we enjoy it, how we use it, and what its place is in our own inner worlds and unconscious experience. But as therapists, at least, to continue to look at those questions is central to the self-reflection that is called for if we are to seek to act with as much authenticity as we can find in our encounters with our patients. So this is an invitation to step back and to take time and space for continuing contemplation of the depth of our involvement with music, whatever forms it takes. As Kennedy himself says in his final sentence: ‘This book has been an attempt to look into the nature of the musical experience, but the mystery remains’ (p. 148).","PeriodicalId":42422,"journal":{"name":"British Journal of Music Therapy","volume":null,"pages":null},"PeriodicalIF":0.7000,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/13594575211034952","citationCount":"0","resultStr":"{\"title\":\"Book Review: Anna Chesner and Sissy Lykou (eds), Trauma in the Creative and Embodied Therapies: When Words Are Not Enough\",\"authors\":\"D. Porter\",\"doi\":\"10.1177/13594575211034952\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"movement in music. He locates that in the possibilities of tonal harmony, with its deployment of tension and release through dissonance and resolution as it moves towards the cadence. 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The possibility that atonal music may also find forward movement – through shifts in intensity, pace, texture, sound colour and so on – and by those means create an emotional narrative in its own terms, is not considered. Every musically inclined reader will find resonances in this book, but there are some inevitable gaps. As the author is primarily intrigued by the experience of the listener, and by extension by the intersubjective listener/composer relationship, the emotional impact and complexities of actively playing or singing are relatively little considered. For music therapists, especially those who think of their work as psychoanalytically informed, the absence of any discussion of improvisation will also stand out. The possibility of music therapy itself as a therapeutic modality is not raised. Music therapy is mentioned only once in a section which considers some theories of music and emotion in social contexts: the author mentions the work of DeNora, in particular her enquiry into women’s experience of music in ‘. . . exercise classes, karaoke evenings, music therapy sessions, and in the retail sector.’. . (p. 96). It might seem a natural next step, given the author’s preoccupation with musical activity as emotional, relational, and with deep roots in unconscious experience, to explore the possibilities of music therapy itself, especially as there are recurring reminders of the ways in which the language of music may enhance understanding of the psychoanalytic encounter. But that is not for this book. Overall, however, this is a book of discursive exploration which offers, through its wealth of references and examples, the possibilities of plenty of fascinating side turnings off its main path to take the reader further. The absence of any detailed reference to music outside the Western classical tradition might be perceived as a limitation; it should also, however, act as starting point for each of us to consider some of the book’s central questions in our own musical terms. My own encounter with this book has reminded me to be seriously curious about my own musical history, relationship with music and ways of engaging with it, and how those may be played out in clinical practice. When we are in among music every day, clinically and in other ways, perhaps it can become so much part of things that there is less space for some more fundamental questions about why we need it, why we enjoy it, how we use it, and what its place is in our own inner worlds and unconscious experience. But as therapists, at least, to continue to look at those questions is central to the self-reflection that is called for if we are to seek to act with as much authenticity as we can find in our encounters with our patients. 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引用次数: 0

摘要

音乐运动。他将其定位于音调和谐的可能性中,当它走向抑扬顿挫时,通过不和谐和分辨率来部署张力和释放。他认为这些元素反映了人类的经验——“音乐然后被人类的经验转化为声音”(第19页)——以及植根于音调的奏鸣曲原则,是产生和告知音乐和情感结构的和声运动的模型。作者创作无调性音乐的时间较少,他有时会将其置于“连续主义”的保护伞下(当然并非总是如此),部分原因是他体验到的这种音乐更静态。他推测了无调性的出现与弗洛伊德所表达的对无意识体验的混乱和零碎本质的日益增长的意识之间的关系,这与共同音调理解的顺利进展相去甚远;他引用了Schoenberg的《Erwartung》作为音乐的一个例子,“。似乎让我们更接近极端或“不和谐”的精神状态,有时几乎近乎歇斯底里”(第26页)。无调性音乐也可能通过强度、节奏、质地、声音颜色等方面的变化找到向前的运动,并通过这些方式创造出自己的情感叙事,这种可能性没有被考虑在内。每一个有音乐倾向的读者都会在这本书中找到共鸣,但不可避免地会有一些空白。由于作者主要对听众的体验感兴趣,进而对主体间的听众/作曲家关系感兴趣,因此很少考虑积极演奏或唱歌的情感影响和复杂性。对于音乐治疗师来说,尤其是那些认为自己的工作是精神分析的人,没有任何关于即兴创作的讨论也会很突出。音乐治疗本身作为一种治疗方式的可能性并没有被提出。音乐疗法在一个考虑社会背景下音乐和情感理论的章节中只提到过一次:作者提到了DeNora的工作,特别是她对女性在“。运动课、卡拉OK晚会、音乐治疗课程以及零售业。(第96页)。考虑到作者对音乐活动的关注是情感性的、关系性的,并且深深植根于无意识体验,探索音乐治疗本身的可能性似乎是一个自然的下一步,尤其是当音乐语言不断提醒人们如何增强对精神分析遭遇的理解时。但这不适合这本书。然而,总的来说,这是一本关于话语探索的书,通过其丰富的参考文献和例子,提供了大量引人入胜的次要转折点的可能性,使读者走得更远。西方古典传统之外的音乐没有任何详细的参考,这可能被认为是一种限制;然而,它也应该成为我们每个人用自己的音乐术语来思考这本书的一些核心问题的起点。我自己与这本书的相遇提醒我对自己的音乐史、与音乐的关系以及参与音乐的方式,以及这些在临床实践中如何发挥非常好奇。当我们每天都在音乐中,无论是在临床上还是在其他方面,也许它会成为事物的一部分,以至于我们为什么需要它,为什么喜欢它,我们如何使用它,以及它在我们自己的内心世界和无意识体验中的位置等更基本的问题的空间会更小。但至少作为治疗师,如果我们要寻求在与患者的接触中尽可能真实地行事,那么继续关注这些问题是自我反思的核心。因此,这是一个退一步的邀请,花时间和空间继续思考我们与音乐的深度,无论它采取什么形式。正如肯尼迪在他的最后一句话中所说:“这本书试图探究音乐体验的本质,但谜团仍然存在”(第148页)。
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Book Review: Anna Chesner and Sissy Lykou (eds), Trauma in the Creative and Embodied Therapies: When Words Are Not Enough
movement in music. He locates that in the possibilities of tonal harmony, with its deployment of tension and release through dissonance and resolution as it moves towards the cadence. He regards those elements as reflective of human experience – ‘Music is then sound transformed by human experience’ (p. 19)–and the sonata principle, rooted in tonality, as a model of harmonic movement both generating and informing musical and emotional structure. The author has less time for atonal music, which he sometimes places under a general umbrella of ‘serialism’ (surely not always the case), partly because he experiences such music as more static. He speculates about the relationship between the emergence of atonality and growing awareness, articulated by Freud, of the chaotic and fragmentary nature of unconscious experience, far from the smooth progressions of shared tonal understanding; he cites Schoenberg’s Erwartung as an example of music that ‘. . . seems to take us nearer to extreme or “dissonant” mental states, almost borderline hysterical at times’ (p. 26). The possibility that atonal music may also find forward movement – through shifts in intensity, pace, texture, sound colour and so on – and by those means create an emotional narrative in its own terms, is not considered. Every musically inclined reader will find resonances in this book, but there are some inevitable gaps. As the author is primarily intrigued by the experience of the listener, and by extension by the intersubjective listener/composer relationship, the emotional impact and complexities of actively playing or singing are relatively little considered. For music therapists, especially those who think of their work as psychoanalytically informed, the absence of any discussion of improvisation will also stand out. The possibility of music therapy itself as a therapeutic modality is not raised. Music therapy is mentioned only once in a section which considers some theories of music and emotion in social contexts: the author mentions the work of DeNora, in particular her enquiry into women’s experience of music in ‘. . . exercise classes, karaoke evenings, music therapy sessions, and in the retail sector.’. . (p. 96). It might seem a natural next step, given the author’s preoccupation with musical activity as emotional, relational, and with deep roots in unconscious experience, to explore the possibilities of music therapy itself, especially as there are recurring reminders of the ways in which the language of music may enhance understanding of the psychoanalytic encounter. But that is not for this book. Overall, however, this is a book of discursive exploration which offers, through its wealth of references and examples, the possibilities of plenty of fascinating side turnings off its main path to take the reader further. The absence of any detailed reference to music outside the Western classical tradition might be perceived as a limitation; it should also, however, act as starting point for each of us to consider some of the book’s central questions in our own musical terms. My own encounter with this book has reminded me to be seriously curious about my own musical history, relationship with music and ways of engaging with it, and how those may be played out in clinical practice. When we are in among music every day, clinically and in other ways, perhaps it can become so much part of things that there is less space for some more fundamental questions about why we need it, why we enjoy it, how we use it, and what its place is in our own inner worlds and unconscious experience. But as therapists, at least, to continue to look at those questions is central to the self-reflection that is called for if we are to seek to act with as much authenticity as we can find in our encounters with our patients. So this is an invitation to step back and to take time and space for continuing contemplation of the depth of our involvement with music, whatever forms it takes. As Kennedy himself says in his final sentence: ‘This book has been an attempt to look into the nature of the musical experience, but the mystery remains’ (p. 148).
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