The goal as process: music and the search for the Self
This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and...
Ausführliche Beschreibung
Gespeichert in:
| Autor*in: |
Skar, Patricia [verfasserIn] |
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| Format: |
E-Artikel |
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| Erschienen: |
Oxford, UK and Boston, USA: Blackwell Publishers Ltd ; 2002 |
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| Schlagwörter: |
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| Umfang: |
Online-Ressource |
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| Reproduktion: |
2002 ; Blackwell Publishing Journal Backfiles 1879-2005 |
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| Übergeordnetes Werk: |
In: The journal of analytical psychology - Oxford [u.a.] : Wiley-Blackwell, 1955, 47(2002), 4, Seite 0 |
| Übergeordnetes Werk: |
volume:47 ; year:2002 ; number:4 ; pages:0 |
| Links: |
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| DOI / URN: |
10.1111/1465-5922.00351 |
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NLEJ243094507 |
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| 520 | |a This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung’s active imagination and Winnicott’s concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all. | ||
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10.1111/1465-5922.00351 doi (DE-627)NLEJ243094507 DE-627 ger DE-627 rakwb Skar, Patricia verfasserin aut The goal as process: music and the search for the Self Oxford, UK and Boston, USA Blackwell Publishers Ltd 2002 Online-Ressource nicht spezifiziert zzz rdacontent nicht spezifiziert z rdamedia nicht spezifiziert zu rdacarrier This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung’s active imagination and Winnicott’s concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all. 2002 Blackwell Publishing Journal Backfiles 1879-2005 |2002|||||||||| active imagination In The journal of analytical psychology Oxford [u.a.] : Wiley-Blackwell, 1955 47(2002), 4, Seite 0 Online-Ressource (DE-627)NLEJ243927606 (DE-600)2021843-6 1468-5922 nnns volume:47 year:2002 number:4 pages:0 http://dx.doi.org/10.1111/1465-5922.00351 text/html Verlag Deutschlandweit zugänglich Volltext GBV_USEFLAG_U ZDB-1-DJB GBV_NL_ARTICLE AR 47 2002 4 0 |
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10.1111/1465-5922.00351 doi (DE-627)NLEJ243094507 DE-627 ger DE-627 rakwb Skar, Patricia verfasserin aut The goal as process: music and the search for the Self Oxford, UK and Boston, USA Blackwell Publishers Ltd 2002 Online-Ressource nicht spezifiziert zzz rdacontent nicht spezifiziert z rdamedia nicht spezifiziert zu rdacarrier This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung’s active imagination and Winnicott’s concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all. 2002 Blackwell Publishing Journal Backfiles 1879-2005 |2002|||||||||| active imagination In The journal of analytical psychology Oxford [u.a.] : Wiley-Blackwell, 1955 47(2002), 4, Seite 0 Online-Ressource (DE-627)NLEJ243927606 (DE-600)2021843-6 1468-5922 nnns volume:47 year:2002 number:4 pages:0 http://dx.doi.org/10.1111/1465-5922.00351 text/html Verlag Deutschlandweit zugänglich Volltext GBV_USEFLAG_U ZDB-1-DJB GBV_NL_ARTICLE AR 47 2002 4 0 |
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10.1111/1465-5922.00351 doi (DE-627)NLEJ243094507 DE-627 ger DE-627 rakwb Skar, Patricia verfasserin aut The goal as process: music and the search for the Self Oxford, UK and Boston, USA Blackwell Publishers Ltd 2002 Online-Ressource nicht spezifiziert zzz rdacontent nicht spezifiziert z rdamedia nicht spezifiziert zu rdacarrier This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung’s active imagination and Winnicott’s concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all. 2002 Blackwell Publishing Journal Backfiles 1879-2005 |2002|||||||||| active imagination In The journal of analytical psychology Oxford [u.a.] : Wiley-Blackwell, 1955 47(2002), 4, Seite 0 Online-Ressource (DE-627)NLEJ243927606 (DE-600)2021843-6 1468-5922 nnns volume:47 year:2002 number:4 pages:0 http://dx.doi.org/10.1111/1465-5922.00351 text/html Verlag Deutschlandweit zugänglich Volltext GBV_USEFLAG_U ZDB-1-DJB GBV_NL_ARTICLE AR 47 2002 4 0 |
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10.1111/1465-5922.00351 doi (DE-627)NLEJ243094507 DE-627 ger DE-627 rakwb Skar, Patricia verfasserin aut The goal as process: music and the search for the Self Oxford, UK and Boston, USA Blackwell Publishers Ltd 2002 Online-Ressource nicht spezifiziert zzz rdacontent nicht spezifiziert z rdamedia nicht spezifiziert zu rdacarrier This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung’s active imagination and Winnicott’s concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all. 2002 Blackwell Publishing Journal Backfiles 1879-2005 |2002|||||||||| active imagination In The journal of analytical psychology Oxford [u.a.] : Wiley-Blackwell, 1955 47(2002), 4, Seite 0 Online-Ressource (DE-627)NLEJ243927606 (DE-600)2021843-6 1468-5922 nnns volume:47 year:2002 number:4 pages:0 http://dx.doi.org/10.1111/1465-5922.00351 text/html Verlag Deutschlandweit zugänglich Volltext GBV_USEFLAG_U ZDB-1-DJB GBV_NL_ARTICLE AR 47 2002 4 0 |
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10.1111/1465-5922.00351 doi (DE-627)NLEJ243094507 DE-627 ger DE-627 rakwb Skar, Patricia verfasserin aut The goal as process: music and the search for the Self Oxford, UK and Boston, USA Blackwell Publishers Ltd 2002 Online-Ressource nicht spezifiziert zzz rdacontent nicht spezifiziert z rdamedia nicht spezifiziert zu rdacarrier This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung’s active imagination and Winnicott’s concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all. 2002 Blackwell Publishing Journal Backfiles 1879-2005 |2002|||||||||| active imagination In The journal of analytical psychology Oxford [u.a.] : Wiley-Blackwell, 1955 47(2002), 4, Seite 0 Online-Ressource (DE-627)NLEJ243927606 (DE-600)2021843-6 1468-5922 nnns volume:47 year:2002 number:4 pages:0 http://dx.doi.org/10.1111/1465-5922.00351 text/html Verlag Deutschlandweit zugänglich Volltext GBV_USEFLAG_U ZDB-1-DJB GBV_NL_ARTICLE AR 47 2002 4 0 |
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This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung’s active imagination and Winnicott’s concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all. |
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This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung’s active imagination and Winnicott’s concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all. |
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This paper explores and compares the processes of music and analysis from the author’s experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung’s active imagination and Winnicott’s concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all. |
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