Abstract

This first-person study investigates the role of cognitive and embodied forms of knowledge in relation to the development of therapeutic presence as a student music therapist. In this paper, I will provide an introduction to the topic reviewing its relevance to the practice of music therapy, and I will argue that the development of therapeutic presence is a fundamental part of becoming a music therapist. Although there are seminal articles in the music therapy literature that discuss the topic of therapeutic presence, I have not found any articles relating it to the development of being a student music therapist. Using heuristic methodology, I will describe the personal process of developing therapeutic presence as a student music therapist. To gain a broader perspective on the research topic, and to provide validation and transparency in relation to my personal heuristic process, three successive theoretical and experiential workshops were carried out with six student music therapists. Data, in the form of questionnaires, reflections and group musical improvisations were analysed systematically to validate my experience of the research topic, and also to discover and evaluate themes and practical methods. The research has culminated in the synthesis of data gathered during the study in relation to the main research question while also reviewing its relevance to music therapy practice and implications for further study.

Highlights

  • This is a heuristic study investigating methods of developing therapeutic presence as a student music therapist

  • Es in music therapy, while incorporating experiential based psychodynamic musical improvisation workshops (Adams, 2015b), the specific topic of therapeutic presence had not been directly addressed during my educational program in relation to our development as student music therapists

  • Current literature related to the practice of psychotherapy describes the various qualities and experiences of therapeutic presence (Colosimo & Pos, 2015; Geller & Greenberg, 2002) and provides theoretical frameworks as a means of conceptualizing the phenomenon and its application to practice as a therapist

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Summary

Introduction

This is a heuristic study investigating methods of developing therapeutic presence as a student music therapist. RESEARCH es in music therapy, while incorporating experiential based psychodynamic musical improvisation workshops (Adams, 2015b), the specific topic of therapeutic presence had not been directly addressed during my educational program in relation to our development as student music therapists. Bruscia’s paper has informed Muller’s (2008) research, which provides phenomenological insight into the phenomenon of therapeutic presence He explored professional music therapists’ experiences of being present with a client, discussing thematic data gathered from the research and argued that “knowing how to be present to a client is essential to being effective as a music therapist” (p.2). The model is based on phenomenological analysis of clinical music therapy improvisations and the author’s experience of Zen and Buddhist meditation practice These studies have provided a theoretical framework for heuristic discovery in relation to contextualizing both the author’s and student music therapists’ experience of developing therapeutic presence throughout the research

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