Читать книгу The Creative Arts in Counseling - Samuel Gladding T., Samuel T. Gladding - Страница 41

When have you or someone you know found a song or a piece of music to be comforting or uplifting? What piece of music was it? How was your mood altered? How do you feel about the music when you hear it now?

In addition, music in counseling may be focused on the interests and tastes of clients. A musical approach may take the form of writing, performing, or listening to certain types of sounds selected by counselors. The idea behind this activity is to foster therapeutic expression by having clients participate in experiences with unfamiliar music. For example, clients may play a new instrument in a predetermined way and make discoveries about their abilities never before imagined. Similarly, ethnic music (i.e., music identified with a particular culture or subculture) may motivate “otherwise unresponsive mainstream music therapy clients into musical experiences through the exotic appeal of unfamiliar musical styles and approaches to music making” (J. J. Moreno, 1988a, p. 17). Even for clients who are unfamiliar with classical music, this genre can have a powerful effect. When chosen carefully and played softly, classical music “can be a tremendous aid in producing an atmosphere conducive to creative activity” (Nadeau, 1984, p. 68). Compositions by Schubert, Copeland, Strauss, Tchaikovsky, and Pachelbel, for example, can create an ambiance that encourages imagination and productivity.

Key to deciding on what music activity, if any, to choose are the goals of counseling (whether preventive or remedial) and the personalities of the individuals involved. For example, some individuals prefer classics by Beethoven, Bach, Brahms, and Mozart, and others opt for popular music by Third Eye Blind, Foo Fighters, Sheryl Crow, Jay-Z, Justin Timberlake, Taylor Swift, James Taylor, Coldplay, Ice Cube, and Jennifer Lopez. Still other individuals prefer energetic African- or Japanese-oriented group rhythms performed on drums or traditional Indian and Asian music, which is helpful in stimulating imagery and fostering meditation.

Individual need is yet another crucial variable to consider in music-oriented counseling. For example, trauma victims need calmer types of music than those who are not so physically or psychologically distressed. Likewise, aerobic and exercise groups need and prefer rock, pop, and new age music. With regard to needs and music, it is helpful to realize that some clients need to be actively involved in making music (e.g., individuals who are depressed), but for others, simply listening to music may be most beneficial (e.g., individuals who are anxious or manic).

Furthermore, the decision as to which music activities to use in counseling is rooted in genuine sharing and self-disclosure about whether both parties in the counseling process are open to exploring this means of help. If the participants reach consensus, the musical pieces used are likely to produce positive results because an atmosphere of trust and expectation has been created. These qualities, along with the skills of counselors and the courage of clients to participate, ultimately dictate how powerful the musical experience will be. Well-chosen music used in collaboration with the client has the capacity to calm, relax, and help the client feel secure (Hodas, 1994; Owens, 1986). There is no substitute for personalizing the process.