Abstract
Introduction: Music therapy research has traditionally been somewhat fragmented into different research traditions. This paper argues that the burgeoning field of enactivism could provide important theoretical integration to music therapy research and practice. Stressing the interdependence of mind, brain, body, and environment, enactivism has provided theoretical integration in several fields, not least music cognition and psychiatry. This paper is the first focused theoretical contribution that applies relevant enactivist theory to music therapy. Methods: After a reflection on theoretical developments in music therapy, we provide a general introduction to enactivism and its multiple origins in human and biological sciences and present its existing contributions to understanding mental illness and musicking. We also make a specific contribution, through discussion of an example of free music improvisation. Results: Providing an enactive analysis of the sense of agency in this practice, we argue that music improvisation, especially in therapy, might work particularly well for people with severe mental illness because improvisation strengthens and flexes the disturbed sense of agency that often characterizes such mental health challenges. Discussion: Finally, we discuss strengths and weaknesses of the proposed framework and suggest future potential studies to better evaluate the potential contribution of enactivism to the research and practice of music therapy.
| Originalsprog | Engelsk |
|---|---|
| Tidsskrift | Nordic Journal of Music Therapy |
| Vol/bind | 33 |
| Udgave nummer | 3 |
| Sider (fra-til) | 208-225 |
| ISSN | 0809-8131 |
| DOI | |
| Status | Udgivet - 2024 |
Bibliografisk note
Funding Information:We would like to thank the members of the “Movement, Culture, and Society” research group at the Department of Sports Science and Biomechanics, University of Southern Denmark; the editors of Nordic Journal of Music Therapy, Grace Thompson and Imogen Clark; and two anonymous reviewers for detailed comments that helped to clarify our arguments. For the writing of this article, SH was supported by the Research Council of Norway through its Centres of Excellence scheme, project number 262762, and together SH and TS were supported by the Arts councils of Denmark and Norway project number 19/2127-3.
Finansiering
For the writing of this article, SH was supported by the Research Council of Norway through its Centres of Excellence scheme, project number 262762, and together SH and TS were supported by the Arts councils of Denmark and Norway project number 19/2127-3.
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