Background: The study explores intersubjective processes in therapeutic disciplines, particularly in music therapy. It focuses on how intersubjective relationships develop through dyadic improvisation, analyzing six music therapy studies that emphasize relational dynamics.
Methods: A meta-analysis was conducted using six selected studies. A four-step methodological process was followed: identifying a research question, gathering relevant qualitative and mixed-methods studies, conducting a thematic analysis to uncover themes of intersubjectivity in dyadic improvisation, and organizing the findings into a conceptual framework of “thirdness” in clinical improvisation.
Results: The analysis identified two key themes: (1) the emergence of musical recognition (“one in the third”) and (2) the recognition of musical separateness (“third in the one”).
Discussion: Grounded in Jessica Benjamin’s intersubjective theory, this talk explores “thirdness” in clinical improvisation, its impact on music therapy daily practice, and how diverse musical genres globally create unique intersubjective spaces, fostering mutual recognition in therapy.
Background. The exploration of intersubjective processes is a key focus across numerous therapeutic disciplines, including music therapy. Many scholars investigated the intersubjective meanings that arise from musical experiences within music therapy. This study concentrated on understanding the development of intersubjective relationships through dyadic improvisation, analyzing six music therapy studies that feature detailed descriptions of clinical improvisations or improvisations informed by music therapy principles, even if non-clinical, all emphasizing relational dynamics.
Methods: A meta-analysis of six studies was conducted following a four-step methodological process. The researcher first identified a research question and then collected relevant qualitative and mixed-methods studies. Six studies were retained for analysis, and a thematic analysis was performed to uncover underlying themes that captured the essence of intersubjectivity in dyadic improvisation. The researcher then organized the findings into a conceptual framework reflecting different phases of “thirdness” in clinical improvisation, which formed the results section.
Results: The thematic analysis revealed two main themes, highlighting distinct developmental stages in clinical improvisation and reflecting intersubjective processes, as described by Jessica Benjamin: (1) The emergence of musical recognition, approaching “one in the third”; (2) The recognition of musical separateness, reaching “third in the one.”
Discussion: Grounded in Jessica Benjamin’s intersubjective theory, this talk will explore the intricate concept of “thirdness” and its potential expressions within clinical improvisation. Additionally, implications for music therapists’ daily practice will be shared. The presentation will demonstrate how improvisational processes can create an intersubjective space between client and therapist, facilitating mutual recognition of each other’s distinctness. This approach is applicable to music therapists from diverse cultural backgrounds and therapeutic orientations and can be adapted to various forms of clinical music-making. The talk will underscore a multicultural perspective by showcasing the distinct intersubjective frameworks that arise from different musical genres worldwide.
CBMT Areas of Practice Addressed:
II. Referral, Assessment, Interpretation of
Assessment and Treatment Planning: 35 items
D. _ Treatment Planning
D1. Involve client in the treatment planning process, when appropriate.
III. Treatment Implementation and Documentation:
68 items
A. Implementation
1. Develop a therapeutic relationship by:
a. _ being fully present, authentic, and respectful.
b. _ building trust and rapport.
c. _ establishing roles, boundaries, and expectations.
d. _ providing ongoing acknowledgement of progress
and reflection.
e. _ providing a safe and contained environment.
2. Provide individualized music therapy experiences to
address client’s:
a. _ ability to empathize.
b. _ ability to use music independently for self-care.
