Notes on the Practice of Guided Imagery and Music.

Print version record.

Cover Image; Title Page; Copyright & Permissions; Dedication; Acknowledgments; Table of Contents; List of Figures & Tables; Preface; Note 1: Nomenclature and Definitions; GIM vs. the Bonny Method; GIM Practices (Not the Bonny Method); Music Therapy Practices (Not GIM, Not Bonny Method); Psychotherapy Techniques (Not Music Therapy, GIM, or Bonny Method); Implications; Note 2: Levels of GIM Practice; Growth-Oriented (Auxiliary) Level; Supportive (Augmentative) Level; Re-Educative (Intensive) Level; Reconstructive (Primary) Level; Transpersonal (Healing) Level; Implications.

Note 3: Applications of GIMNote 4: Procedural Phases of the GIM Session; Preparation of the Space; The Preliminary Conversation; The Induction; The Music-Imaging Experience; The Return; The Postlude Discussion; Note 5: The Preliminary Conversation; Exploring the Conscious; Identifying the Manifest Theme; Accessing the Unconscious; Drawing Mandalas; Transitioning to the Music; Phenomenological Descriptions; Note 6: The Induction; Purpose; Procedural Components; Technical Considerations for the Relaxation Procedure; Types of Relaxation Inductions; Focus; Sample Relaxation Inductions.

Phenomenological DescriptionsNote 7: Selecting the Music; Relevance Issues; Depth; Here-Now Observations; Client Readiness; Therapist Readiness; How Music Influences Guiding; Ethical Issues; Note 8: The GIM Programs; Descriptions of the Programs; Note 9: The Music-Imaging Experience; Phenomenological Descriptions; Note 10: Basic Guiding Techniques; Principles of Guiding; The Guiding Space; Guiding Purposively; Guiding Responsively; Writing the Transcript; Note 11: The Return; Phenomenological Descriptions; Note 12: The Postlude; Basic Considerations; Steps in a Verbal Postlude.

Phenomenological DescriptionsResearch Findings; Note 13: Consciousness Shifts in the GIM Session; The Preliminary Conversation; The Induction; The Music-Imaging Experience; The Return; The Postlude; Note 14: Addressing the Risks of GIM; Recognizing the Risks; Managing the Risks of GIM; Note 15: The Client's First Session; Preparing Clients for Their First GIM Session; Gathering Information About the Client; Leading the First Preliminary Conversation; Explaining and Demonstrating GIM; Client Intake Sheet; The First Relaxation Induction; The First Music-Imaging Experience.

The First Return and PostludeHomework; Consent Form for Participation in GIM; Note 16: Starting the Assessment Process; Client Responsiveness to GIM; The Responsiveness to GIM Scale -- Revised; Biographical Inquiry; Note 17: Understanding Imagery; Identify Significant Images; Elaborate and Clarify Images; Explore Imagery Sequences; Link Images to Real World; Link Imagery to Myths and Archetypes; Link Images to Spiritual and Transpersonal Realms; Note 18: On the Role of Music; The Diverse Functions of Music in GIM; The Roles of Music in the GIM Process; The Guide's Musical Responsibilities.

Implications.

Based on the author's manuals for training GIM practitioners, this book offers detailed strategies for planning and implementing each phase of the individual GIM session. Also included are discussions of the role of music, shifts in consciousness during the session, assessment concepts, the analysis and creation of music programs, advanced guiding techniques, risk management, and interactive imaging.

Includes bibliographical references.

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