Analogy and metaphor in music therapy. Theory and practice

Abstract

Two theoretical models of music therapy have been developed and discussed in the past decade. The theory of metaphor as proposed by Aigen is based on the schema theory of Lakoff and Johnson. It explains the connection between musical experience and felt experience by means of its interconnection with metaphors that are based on movement experience in space. The theory of analogy as proposed by Smeijsters is based on Stern's theory of vitality forms and Damasio's theory of the core self. Analogy explains the musical experience by means of the isomorphism between the forms of vitality affects in the core self and the forms of musical phrases. This discussion is highly relevant for music therapists because it is important to explain why music therapy works. Theoretical explanation of music therapy is also important because it is basic to the development of therapy methods and techniques.

 This article discusses both theories on the basis of theoretical concepts and case studies, arguing that metaphor and analogy both are music-centered concepts. Metaphor is described as a space-oriented perspective, analogy is described as a time-oriented perspective. Both perspectives can explain different music therapy experiences or describe the same music therapy experiences from a different perspective.

Keywords:

• analogy
• metaphor
• clinical practice

Notes on the contributor

Henk Smeijsters PhD is Professor of Arts Therapies, and Director of Research at the Dutch Research Center for the Arts Therapies (KenVaK). The center is a joint venture of the Zuyd, Utrecht, ArtEZ, and Stenden Universities of Applied Sciences. Prof. Smeijsters is Head of Studies for the KenVaK Master of Arts Therapies program and supervisor of PhD programs at KenVaK. His special interest is the theory of analogy, practice-based evidence, and practice-based research.

Notes

¹In this paper several concepts will be used that have been introduced by Stern and by him have been changed throughout the years. In this paper the author will use these concepts as follows: vitality affects refers to the dynamics of experience in the person and the expression of experience in gestures, spoken phrases, smiles, movement, and so on. Feelings are characterized by vitality affects, but vitality affects are not limited to feelings. Vitality forms refers to the dynamic shape of vitality affects (force, speed, flow, timing). Vitality forms are not restricted to experiences, but can be observed also in the movement of objects (for instance the movement of a car), and also in music. Vitality forms of music refers to the vitality forms that can be heard in music.

²The concepts in the work of Stern have been changed through the years. Based on the latest developments, in this paper forms of vitality will be used interchangeably with vitality dynamics, meaning that vitality forms are dynamic variations (forces, impulses). Vitality forms can be found inside and outside the psyche (for instance in art forms). The concept of vitality affects will be used for forms of vitality inside the psyche.

³This has important implications for research. “Vitality affects are not readily describable in words or mathematics” (Stern, 2010a, p. 98). Most research however is using assessment instruments and qualitative techniques that make use of figures and words. This translation from the experience of vitality affects and musical forms cannot give us the experience of music and vitality affects itself. As Stern puts it: “I don't know when you need to or should put any of the things that happen in a non-verbal therapy like music therapy into a cognitive and linguistic mode” (Stern, 2010b, p. 102). In the future we need research that describes music as vitality forms, not the cognitive and linguistic representation of it. By listening to the client's vitality forms of music we can experience his/her vitality affects and how they change during therapy.

⁴This case is taken from Smeijsters (2008b) with the consent of Dorothé van der Hoeven (the music therapist) and the publisher.

⁵Analogy is close to romantic philosophies of music that stress the non-rational, felt aspects of experience that are the counterpart of the philosophy of Enlightenment. Although Schopenhauer and Nietzsche developed very different philosophies of how to handle the Wille, they both share the idea of the Romantic Self that differs strongly from the Self of the Enlightenment. They both share the idea that music, instead of analytical thinking, is able to give us the true experience of life (Safranski, 2008, 2010). In the work of both philosophers we find correspondences to the non-rational consciousness of the Core Self as described by Damasio (1999).

⁶Stern, in his book, explores time-based arts such as music, dance, theater, and cinema. It is beyond the scope of this paper to describe the time-based element in art therapy. Art is not only the product of art but also the process of making art, which is full of vitality forms that are reflected in the product of art.