When the Client Is a Music Therapist! Experiencing Five Approaches to Music Psychotherapy/Quand la Cliente Est Une Musicothérapeute! Expérimenter Cinq Approches En Psychothérapie Par la Musique

therapy is a relatively young profession, especially in the realm of psychotherapy private practice. Thus there are a limited number of music therapists able offer personal music therapy music therapists who wish experience this work as client. Some universities are facilitating personal therapy, either by offering free counselling sessions or by integrating some educational personal work into the curriculum. During my master's degree in music therapy at New York University, I had the opportunity experiment with various approaches therapy, especially music psychotherapy, in and outside the program. As a graduate student these experiences allowed me better know myself and better understand the therapeutic processes that clients go through. I consider it essential music therapists have experienced music therapy approaches themselves when working with clients, especially in psychotherapy. Ethically it is desirable personal work better identify transference and countertransference reactions that could interfere in the development and maintenance of the therapeutic alliance. In addition, these reactions are often subtle in music therapy, as music expresses material that is not always conscious (Bruscia, 1998).To explore this issue of personal therapy further, I conducted a survey (Vaillancourt, 1996/97) looking at the mandatory personal work of the guided imagery and music (GIM) therapist. This survey was conducted with 115 GIM fellows from the United States, Canada, New Zealand, and Australia with 67 responses. Of these, 92% agreed that it is essential be in therapy, and several respondents indicated that cannot take a person further than you are willing go yourself.Music Psychotherapy, Transference, and CountertransferenceThere is no one definition of music psychotherapy, as there are various practices (Bruscia, 1998). For the purpose of this article, Bruscia's definition provides us with foundational principles: Music psychotherapy is the use of music experiences facilitate the interpersonal process of therapist and client as well as the therapeutic change process itself (Bruscia, 1998, p. 2). Bruscia has expanded this definition include four levels: music as psychotherapy, music-centered psychotherapy, music in psychotherapy, and verbal psychotherapy with music (see Bruscia, 1998), some of which the author of this paper experimented with through five music psychotherapy approaches.There is a general consensus in the literature about the need the therapist have been in psychotherapy in order better serve clients. One of the early works around this issue was reported through a survey with psychotherapists done by Kaslow (1984). Five attitudes stood out from their practices: they show more respect the struggles encountered by their patients; they replace the need do for with the ability to be with; they better differentiate their needs from those of their clients; they evaluate the duration and objectives of the process more realistically; and they are more aware of the downfalls of countertransference reactions. Wolberg (2005) also argues that a therapist should be in therapy in order limit interferences with the client's therapeutic process.Definitions of transference and countertransference have evolved through the years since Freud introduced these concepts in the beginning of the 20th century. Bruscia (1998) proposes a broad definition, which he specifies is not limited one perspective but is more on a continuum of possibilities: A transference whenever the client interacts within the ongoing therapy situation in ways that resemble relationship patterns established with significant persons or things in real-life situations from the past (p. 18). Countertransference, on the other hand, occurs whenever a therapist interacts with a client in ways that resemble relationship patterns, in either the therapist's or the client's life (p. …

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