Nordoff-Robbins Music Therapy (NRMT) is a music-centered approach built on belief that every human being has an inborn capacity to find meaning in musical (Nordoff & Robbins, 2004, 2007). It can be considered a form of music psy- chotherapy (Robarts, 2003; Turry, 2000), defined as using music therapy for goals of (Hesser, 1979/2002, p. 2). In clinical practice, Nordoff-Robbins (NR) music therapists prioritize careful listening and musical responsiveness (Nordoff & Robbins, 1977/2007; Verney & Ansdell, 2008). The process entails creating a therapeutic alliance through interactive music making that includes intersubjective of both cli- ent and therapist (Robarts, 2003, 2009).The concept of intersubjectivity, taken from infant research (Stern, 1985, 1990; Trevarthen, 1994; Trevarthen & Malloch, 2000), has developed through time and has been integrated into discipline of psychotherapy (Mitchell, 1988; Scharff & Scharff, 2011; Stolorow, 1988). Articulating nature and structure of therapeutic relationship deepens our understanding of NRMT and provides a lens through which to understand other forms of music therapy that emphasize extemporaneous musical exchange as a foundation of therapeutic process.Music and Relationship in Development of Nordoff-Robbins Music TherapyIn describing development of NR work, Robbins (2000) stressed the motivation that generated this work was fundamentally musical. The work came about from a love of musical creation, musical expression, and musi- cal experience (p. 15, original emphasis). They believed that a child's music is a window into his/her inner life. The way a child plays, including use of instruments, dynamics, tempo, rhythm, and phrasing, gives therapist insight into how that child experiences him- or herself and world around them (Nordoff & Robbins, 2004, 2007). Nordoff and Robbins strove to uncover musical sensitivities of each child, and to respond in turn to individualized musical expressions and qualities of these expressions (Nordoff & Robbins, 2004, 2007). In this way, they could attune to and meet each child where he or she was developmentally, emotionally, and musically, and provide musical experi- ences to challenge and move child towards purposeful activity, positive growth, and ultimately a better quality of life (Nordoff & Robbins, 2004, 2007).Nordoff, an experienced composer, performer, and teacher at time he met Robbins in 1958, brought to their partner- ship his broad musical knowledge (Robbins & Robbins, 1998). In their training of music therapy students, Nordoff stressed importance of honing one's musical awareness and percep- tion through thorough study of melodic, harmonic, and rhythmic components of music (Robbins & Robbins, 1998). This knowledge was fundamental in developing musical resources, clinical musicianship, and creativity needed to do work (Robbins & Robbins, 1998).The pioneering work of Nordoff and Robbins was remark- ably fruitful. They carried out numerous successful courses of therapy with children with a wide variety of challenges and needs-Edward (Nordoff & Robbins, 2007), Anna (Aigen, 1998; Nordoff & Robbins, 2007), and Audrey (Aigen, 1998) perhaps being best known. Aigen (1998) describes their approach as improvisational, interactional, explorative, oriented to self-actualization, pragmatic, and finally, one in which therapist never settles into a routine but is con- stantly evaluating musical tools and interventions to stimulate client's growth (p. 6). They approached each client with great respect for that client's individual developmental pro- cess; thus, each course of therapy was unique (Aigen, 1998).Relationship was also important to Nordoff and Robbins- in fact, first scale they developed was The Child-Therapist Relationship in Coactive Musical Experience, familiarly known as Relationship Scale (Nordoff & Robbins, 1977/2007). …
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