Passive Music Therapy Research Articles

Music therapy in France

Arveiller’s (1980) excellent summary of the history of music therapy in France cites the use of receptive (passive) music therapy as an interdisciplinary approach in treating melancholy as early as the 17th century (p. 45). In the 18th century a debate arose over the use of music as opposed to the use of physical treatment in the care of psychologically disturbed persons. For example, the 18th century philosopher, Rousseau, felt that music should have the same effect on the fibres of the human body as it had on an instrument placed next to the sound source. Intertwined in the debate was discussion of the effect of one’s physical state on the psyche and vice versa. This period experienced the birth of the theory in psychiatry of replacing a false idea with a correct idea and of sensation being the source of images which translate into ideas. The eliciting of sensations through music therefore played a role in this theory. The use of music with psychiatric patients increased in the 19th century and corresponded with generalized moral treatment in psychiatry. Philippe Pine], a philanthropist and psychiatrist of the time, employed passive music activity (musical instruments played by employees) in the psychiatric milieu. He believed that soft, harmonic music in the psychiatric hospital helped to create a calm, relaxing atmosphere that appealed to the healthy part of the patient as well as the premorbid personality. Leuret, a precursor of active music therapy, felt that it was more effective than passive music therapy. He formed choruses and orchestras with patients as the performers. In 1852 highranking administrators witnessed an orchestral performance by patients from an institution (Quatre-Mares) and were so impressed that they gave their approval for the use of music in institutions. Almost all such establishments thereafter organized choruses and orchestras, the beginning of a systematic use of music in group psychiatric settings. Between 1880 and 1914 interest centered on the psychophysiological effects of music, and research was based on the effects of music on pulse rate and respiration (Arveiller, 1980). The attempt was to render a scientific music therapy comparable to other therapies, susceptible of being described by its physical and chemical properties, its physiological, therapeutic. and toxic effects, its indications, its modes of application, its preparations, and its doses. Unfortunately, the experimental results were often contradictory, problematic, and not always based on scientific procedures. After 1911 many considered music an occupational therapy, its goal no longer to heal, but to help patients resocialize, and to prevent regression. There is still a place in France where this music therapy philosophy is practiced but, as will be described, it has taken on new qualities. Arveiller (1980) points out that when reviewing a history of the use of music in psychiatry it is