Artistic music therapy is a formal and highly structured clinical model. But what exactly is a model in the scientific realm? According to Mario Bunge (2013), science is a systematic, rational, verifiable, and fallible human practice. In this sense, music therapy is undoubtedly a rigorous scientific discipline. Likewise, Bunge describes a model as a schematic representation of a real phenomenon. This simplified tool is used to describe, explain, and predict that phenomenon. Basically, models are very precise conceptual constructions. Often, these constructions are mathematical or symbolic. Finally, they act as solid bridges between general theory and clinically observed facts.
Jointly, Bunge defines scientific theory with great empirical clarity. It is a system of ideas or an ordered set of testable propositions. This system is the direct result of testing the model through multiple research studies. Consequently, theory is born as the fruit of systematic practice over time. In this way, a model is created that faithfully describes that professional practice. As a result, this leads to the theoretical construction that explains all the facts. Furthermore, this theoretical basis allows predicting future therapeutic outcomes with absolute certainty.With these three fundamental concepts clarified, the Artistic Music Therapy (MAR) model was formally born. This model was established after a very long-standing clinical practice. This practice was carried out with different patient populations in various health areas. It also covered different levels of care and highly varied cultural contexts. Fundamentally, the model takes shape thanks to the findings obtained in several formal investigations. In particular, it emerges from my clinical study on group improvisation published in 2011. This research successfully evaluated depression in adolescents and adults with substance abuse problems.
Improvisation as a method in Artistic Music Therapy
Generating a structured scientific model requires a truly monumental effort. First, it implies systematic, deep, and sustained inquiry over time. I would say it requires unconditional dedication from the lead researcher. One must always work with the firm idea of generating useful and functional systems. These systems must contribute directly to the real well-being of the people we serve. As a logical result of that arduous study process, artistic music therapy (MAR) emerges. Primarily, MAR is a far-reaching multi-expressive improvisational model. Currently, it is used individually and in groups with patients of diverse health conditions.
Its fundamental clinical purposes are extremely clear and deeply transformative for human beings. First, the model seeks to release the expressive force that the patient keeps repressed. Second, it aims to develop human consciousness in a gradual and very respectful way. Third, it seeks to promote the total integration of the being through creativity. To achieve all this, artistic music therapy employs referential or free improvisation methods. Additionally, this sonic practice is masterfully combined with live recitals or concerts. Therefore, the patient manages to expose their inner process to the outside safely. In short, improvisation is the central method of this entire practice.
But what exactly does this expressive technique consist of during the clinical session? Improvisation is, by definition, an extemporaneous and highly dynamic process. Basically, it consists of inventing music spontaneously while playing, singing, dancing, or acting. To do this, the patient uses any sound resource available in the given therapeutic environment. In this way, the person manages to obtain an artistic and healing product (Albornoz, 2002). The fundamental experience in MAR is musical creation in the present moment. From this central process, many other aesthetic experiences can be derived. Finally, these creative methods adapt to the needs of each individual process organically.
Indigenous roots and the scope of the MAR model
This innovative approach is considered truly artistic for a very vital clinical reason. It emphasizes the enormous benefit of working therapeutically with the musical element in depth. This work goes far beyond the simple aesthetic pleasure of listening to a melody. Its real objective is to encourage the assisted person to connect with their own life experience. Furthermore, it allows them to explore their most destructive aspects in a purely creative and safe way. Within this precise definition, improvised music plays a leading role. Specifically, when presented to an audience, it acts as an independent agent of therapy.
This independent music has its own unique capacity to generate profound changes. It manages to elevate and expand the level of human understanding very significantly. Likewise, it manages to directly influence the patient’s entire therapeutic process. In essence, artistic music therapy is much more about “being” than simply “learning to be.” Regarding its formal foundations, the World Federation of Music Therapy highlighted this great model. In their Comprehensive Review of global practices (2023), they described MAR in great detail. They noted that it involves a structured sequence of procedures and sonic experiences. These methods emphasize the artistic impact on the general improvement of quality of life.
Moreover, the model places a very special emphasis on wise original cultures. Indigenous practices significantly influenced the theoretical development of artistic music therapy. In particular, it was nourished by the profound wisdom of the ancestral culture of Abya Yala. In fact, MAR is the only scientific model based on the thought of Indigenous peoples. If you wish to delve into these foundations and life methodologies, I invite you to research my publications. You can review session planning, therapy phases, and clinical assessment of this approach. Contact me if you wish to acquire your PDF copy of the book “Artistic Music Therapy” (2016). I also have the original Spanish version (2013) available for the international community.
