“Forms and Feelings and Forms of Perception ...

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Introduction to “Forms and Feelings and Forms of Perception” Analogy – A Core Concept Lars Ole Bonde Published online: 10 Jul 2009.

To cite this article: Lars Ole Bonde (2003) Introduction to “Forms and Feelings and Forms of Perception” Analogy – A Core Concept, Nordic Journal of Music Therapy, 12:1, 69-70, DOI: 10.1080/08098130309478074 To link to this article: http://dx.doi.org/10.1080/08098130309478074

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THEORY BUILDING IN MUSIC THERAPY - AN INTERNATIONAL ARCHIVE

Introduction to "Forms and Feelings and Forms of Perception"

Analogy - A Core Concept Downloaded by [Aalborg University Library] at 06:33 20 February 2015

Lars Ole Bonde I am pleased to get the opportunity to introduce Smeijsters' article, the first in the new NJMT International Archives series. One reason is my ambivalence concerning the whole idea of "General Music Therapy Theory." On one hand I am a firm believer in the advantages of concepts, models and theories that enable music therapists to communicate with each other and with professionals from related fields - across the boundaries of professions, nations and cultures (see Bonde, 1999, Bonde, 2001). This makes me a strong supporter of Smeijsters' ideas of general theory, especially his theory of analogy which is the core of the present article. I also agree with Smeijsters that we need quantitative as well as qualitative research in music therapy - and in the possibility of combining them in one research project, namely as two different perspectives, or lenses, through which the objects of research can be studied (Smeijsters, 1997). On the other hand I lean towards phenomenology, hermeneutics and local narrative truths, and to research grounded in specific clinical practice, and in the experiences of clients and therapists which are always situated in a particular cultural context. This dilemma calls for constant discussions and reflections (Stige, 2002) or as Kenny formulates it: 'Music therapy will not endure if it does not develop substantive theory. Our theories must be substantive, yet flexible andfreeto adapt to place, to the constantly changing themes of discourse in which future music therapists will engage" (Kenny, 1998). Smeijsters has made many important contributions to this development, and I think his theory of analogy is one of the most important. Untill now it has only been available in German and Dutch (e.g. Smeijsters, 1999), but with this article and a forthcoming book in English Smeijsters' ideas can be studied and discussed world wide (see also Bonde, 2002). From an epistemological point of view analogies and metaphors are specific ways of examining and

knowing something. They are founded in basic bodily (nonverbal) experiences (enactive representations and schemas) enabling us to identify and define similarities and differences between objects and phenomena. Metaphor operates at the level of objects expressing how two phenomena are similar, yet different (Bonde, 2000). Analogy operates at the more general and abstract level of systems (of objects, actions or ideas), expressing how systems of different orders correspond in certain fundamental ways. Smeijsters' analogy theory is a general theory of "the correspondence between a person's inner experiences and his expressions in music" (therapy). This is a wellknown axiom within psychodynamic and analytically informed music therapy, but Smeijsters goes further and elaborates the correspondences at a more general level, with the ambition of embracing non-psychodynamic models of music therapy as well. The core questions are how emotions and emotional conflicts are expressed in musical experiences (active improvisation or receptive listening), and how we can study and understand these emotional dynamics as expressions of intra- and interpsychological events and patterns. Smeijsters refers extensively to the pioneering work of Daniel Stern, especially the concepts of amodal and cross-modal perception and vitality affects, and I am sure many music therapistsfromdifferent models and paradigms will be able to follow Smeijsters' ideas and apply them to their own clinical world. Stem seems to be a 'safe common base' for developmentally oriented theory within many clinical fields of music therapy, especially when combined with the research based theories of infant musicality and the musical qualities of motherinfant communication developed by Trevarthen, Malloch and others, not referenced by Smeijsters but by many others (e.g. Bunt & Pavlicevic, 2001; Wigram et al., 2002). Smeijsters' theory of analogy is an important and exciting contribution to the ongoing discussion of how we can understand the interrelationship of music, psyche and social interaction. I agree with many of its Nordic Journal of Music Therapy, 2003, 12(1)

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THEORY BUILDING IN MUSIC THERAPY - AN INTERNATIONAL ARCHIVE axioms and suggestions. However, I also have some of Music Therapy, Washington, D.C. November reservations - and of course the whole idea about meta17-22,1999. In: Aldridge, D. (Ed.)(2002) theory (and behind the International Archives) is to Music Therapy Info Cd-Rom TV. Wittenstimulate discussions and reflections - so I will close Herdecke: Universitat Witten-Herdecke. this short introduction indicating three of my personal Bonde, Lars Ole (2000). Metaphor and Narrative topics of discussion, encouraging all readers to in Guided Imagery and Music. Journal of the participate in the ongoing, critical and dynamic Association for Music and Imagery 7, 59-76. development of (general?) music therapy theory. Bonde, Lars Ole (2001). Towards a Meta-theory 1) Identifying analogies is not a linear, inductive or of Music Therapy? An Introduction to Ken deductive form of argumentation. A good theory of Wilber's Integral Psychology. Nordic Journal analogy is based on inspired and modest indications of of Music Therapy 10(2), 176-78. many, fundamental and (for the practitioner) striking Bonde, Lars Ole (2002). Theoretical Foundations and relevant similarities between related fields (here: of Music Therapy: Music as Analogy and music and psyche). It is necessary to define the Metaphor. In Wigram, Tony , Pedersen, Inge epistemological status of concepts like correspondence N. and Bonde Lars Ole. A Comprehensive and connection. Sometimes I think Smeijsters goes to Guide to Music Therapy, pp 97-111. London: far, e.g. when he argues that "Musical processes in itself Jessica Kingsley Publishers. are psychic processess." This is the line of deduction Bunt, Leslie & Pavlicevic, Mercedes (2001). (explaining through logical procedures), and then Music and Emotion: Perspectives from Music analogy in my opinion loses its specific purpose which Therapy. In: Juslin, P. N. & Sloboda, H. A. is not explanation but inspiration. Music and Emotion. Theory and Research, pp 2) The relationship between analogy and meaning 181-201. Oxford: Oxford University Press. is unclear to me in Smeijsters' theory. A theoretical Kenny, Carolyn B. (1998). Developing Concepts understanding of how meaning is construed (or found) for a General Theory of Music Therapy. 4th in music therapy must take into consideration how European Music Therapy Conference, Leuwen analogies are experienced by client and therapist in their (B). In: Aldridge, D. (Ed.)(2002). Music specific context. Here I find Smeijsters' thinking more Therapy Info Cd-Rom IV. Witten-Herdecke: or less "orthodox" psychodynamic. Universitat Witten-Herdecke. 3) Finally, I think Smeijsters underestimates the Smeijsters, Henk (1997). Multiple Perspectives. A importance of aesthetic form, or musical meaning, in Guide to Qualitative Research in Music his theory. I do not think that "the psychologically Therapy. Gilsum, NH: Barcelona. satisfying or significant" in music therapy is very Smeijsters, Henk (1998). Developing Concepts different from "the musically/asthetically satisfying or for a General Theory of Music Therapy. Music significant." Of course our clients are not and must not as Representation, Replica, Semibe music students or even amateur musicians. However, representation, Symbol, Metaphor, Semimusical and aesthetically meaningful statements are, symbol, Iiso-morphé, and Analogy. 4th in my opinion, more helpful to clients than "random" European Music Therapy Conference, Leuwen expression in sound. (B). In: Aldridge, D. (Ed. 2002) Music The field is not the play. The map is not the territory. Therapy Info Cd-Rom TV. The music(king) is more than the sounds. Analogy and Smeijsters, Henk (1999). Grundlagen der metaphor highlight and disguise. Welcome to the Musiktherapie. Theorie und Praxis der metatheoretical laboratory. Behandlung psychischer Storungen und Behinderungen. Gottingen, Hogrefe. Stige, Brynjulf (2002). Culture-Centered Music References Therapy. Gilsum, NH: Barcelona. Bonde, Lars Ole (1999). Metaplwr and Metaphoric Wigram, Tony, Pedersen, Inge Nygaard et al. (2002). Imagery in Music Tlierapy Theory: A Discussion A Comprehensive Guide to Music Therapy. of a Basic Theoretical Problem - With Clinical Tlieoty, Clinical Practice, Research aiul Training. Material from GIM Sessions. 9th World Congress London: Jessica Kingsley Publishers. Nordic Journal of Music Therapy, 2003, 12(1)