No description available.

The Bonny Method of Guided Imagery and Music (GIM) is an individual form of music psychotherapy known for facilitating profound and embodied music and imagery experiences. GIM theorists have argued that the use of music and imagery can facilitate a mind-body interaction, leading to powerful experiences that affect all facets of a person's being. But this interaction has not been directly examined in GIM, despite the need to understand its nature and risks. This gap in research is due to the inherent limitations of the two major paradigms used in this field: quantitative research cannot account for unique individual responses to phenomena, while qualitative research is not predictive in the same way as quantitative, positivistic research. This study used a new research approach, neurophenomenology, in order to link participants' descriptions of qualitative music and imagery experiences with electroencephalographic (EEG) data, providing context for the brain data while also illuminating the neurological effect of imagery experiences. The music and imagery session used a guided imagery script which focused on six different kinds of imagery experiences (Affect, Body, Interaction, Kinesthetic, Memories, Visual) and was pre-recorded over two different classical musical pieces selected from the GIM literature. Four participants each underwent individual music and imagery sessions using the pre-recorded script and music while having simultaneous EEG data collected. Afterward, participants viewed a video of their sessions with the researcher and described their imagery experiences during a phenomenological interview. The contents of the transcribed interviews were coded into phenomenological categories concerning the congruence of image with guiding cue, imagery modality, stability of imagery, awareness of guiding and music, and awareness of altered state of consciousness (ASC). Meanwhile, consultants performed coherence analyses on the EEG data, examining relationships between major regions of the brain according to both guiding condition and frequency ranges of brain waves. The researcher integrated the phenomenological and EEG data for each participant, and then across cases to determine patterns of subjective experience and brain response. Each participant demonstrated distinctive styles of reported imagery experience with brain responses, ranging from minimal emotional involvement with alertness, to drowsy, disjointed body sensory imagery, to drowsy, disconnected emotional imagery, to a deeper exploration of consciousness with a consistent ASC. Cross-case comparisons of the integrated data showed that 1) the ASC involves both physical relaxation and ongoing focus on the imagery experience; 2) imagery generates brain activity in the same regions that would process information from similar real-life experiences; 3) beta and gamma frequencies played a significant role in how participants maintained an ASC and made meaning out of the imagery. Implications of these and other conclusions from the separate examination of EEG and phenomenological data are discussed. / Music Therapy

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