The purpose of this study was to solicit information from Fellows of the Association for Music and Imagery concerning their use of the method known as Guided Imagery and Music (GIM). Modifications to the individual and group forms of GIM that were created by Helen Bonny in the 1970s have been reported in the literature over the past 30 years, but the prevalence of these practices is unknown. Based on distinctions provided by Bruscia (2002a), an anonymous electronic survey was designed to gather data on the extent to which original and modified forms of GIM found in the literature are currently practiced. In addition, data were gathered on the basic demographics of GIM fellows, as well as characteristics of their clients and their delivery of GIM treatment. Results indicated that the original Bonny Method practices were frequently used by a majority of GIM fellows. All of the modifications included in the survey were also practiced, although less frequently than original Bonny Method practices. T-tests and ANOVAs were computed to identify significant differences between GIM fellows' use of practices, and, their demographics and delivery of GIM treatment. Pearson correlations were computed to identify significant relationships between GIM fellows' use of practices and their clients' characteristics. A number of significant results were found and discussed. Results of factor analyses indicated that the boundary distinctions between the original Bonny Method and modified practices as articulated by Bruscia (2002a) are reflected in GIM fellows' frequency ratings for these practices. It is recommended that the GIM community adopt a system for distinguishing boundaries between practices, conduct research to determine where Bonny Method and modified practices are learned and for what purposes they are used, and to use this information to inform GIM training and practice. / Music Therapy

The purpose of this study was to identify predictors of responsiveness to the Bonny Method of Guided Imagery and Music (BMGIM), as measured by the Responsiveness to Guided Imagery and Music scale (RGIM). It was hypothesized that when combined, Sense of Coherence (SOC), state trait anxiety (STAI), classical music experience (CME), gender, and/or age would account for a significant amount of variance in responsiveness to BMGIM. Sixty volunteer participants were recruited from the general population. They all attended one research session where they participated in a group Guided Imagery and Music (GIM) experience. Prior to the group GIM experience, participants completed a demographic questionnaire (including a CME measure), the Spielberger State Trait Anxiety Inventory (STAI), and the SOC scale. After the group GIM experience, participants completed the RGIM scale. Once data collection was completed, the reliability and construct validity of the RGIM was examined. Exploratory factor analyses revealed that the RGIM contained five distinct factors: (a) Ability to Relax (AR), (b) Ability to Image to Music (AIM), (c) Responsiveness to Music and Guiding (RMG), (d) Comfort with Self-Disclosure (CSD), and (e) Meaningfulness of the Experience (MOE). These were the dependent (criterion) variables in this study. Before analyzing the data, the researcher ran diagnostics to check for assumptions of regression. Correlational statistical techniques were used to identify significant relationships between variables, and three sets of exploratory multiple linear regressions were used to identify which combinations of variables were the most accurate predictors of RGIM factors. Results of the first multiple regression showed that together, SOC, classical music experience, and age are predictors of "Ability to Image to Music," "Responsiveness to Music and Guiding," and "Meaningfulness of the Experience." Results of the second multiple regression showed that together, state anxiety, classical music experience, and age are predictors of "Ability to Image to Music," "Responsiveness to Music and Guiding," and "Meaningfulness of the Experience." Results of the third multiple regression showed that together, trait anxiety, classical music experience, and age are predictors of "Responsiveness to Music and Guiding." A number of other significant and non-significant results were found and are discussed. Limitations of the study as well as recommendations for future research, clinical practice, and education/training are presented. / Music Therapy

Guided Imagery and Music (GIM) is a unique method of psychotherapy that uses music and spontaneous imagery while the client is in a non-ordinary state of consciousness (NOSC). Therapists in any therapeutic modality including GIM have a wide range of unanticipated reactions to clients' experiences. Studies have indicated that reactions of the therapist can lead to different interventions and can impact the outcome of the session and perceived effectiveness as a therapist. Because GIM therapists often work with clients who have extensive emotional and physical issues, it is possible that the therapists have strong reactions to clients’ experiences, which can lead to burnout. The purpose of this study, therefore, was to explore therapists’ experience of unanticipated reactions through the within-case and cross-case analysis using phenomenology outlined by Moustakas (1994). Findings suggested that the GIM therapist had certain expectations in GIM and it was normal for the GIM therapist to have unanticipated reactions to clients' experiences when those expectations were not met. There were several factors that affected the decision-making of GIM therapists after unanticipated reactions, including self-mediation, cognitive foundation, self-awareness, therapist's past experiences, trust, surrender, being present, integration, and self-care. Findings also suggested that GIM therapists could deal with unanticipated reactions within the scope of practice as they engage in personal-growth, self-care, and continuing education. Two guidelines were proposed to understand the process of GIM therapists in their moments of unanticipated reactions. Limitations and implications for further studies were discussed. / Music Therapy