| By studying musical psychodrama and Mongolian Shamanic healing rituals, this dissertation traces modern music therapy back to the Shamanic healing. Based on many clinical practices, field trips and literature gathering and sorting, it examines the ideas and techniques by Joseph Moreno, the founder of musical psychodrama and seeks the commonality between musical psychodrama and Mongolian shamanic healing rituals from the angles of therapeutic roles, process, music and forms of expression so as to trace the Shamanic source of modern music therapy and to unveil the artistic appeals and profound wisdoms of the time-honored healing rituals. Two of such wisdoms are explored as follows. Firstly, drawing upon the “Soundscape” theory by Cao Benye, “Collective Unconsciousness and Archetypes” by Karl Jung, “Soundscape and Musical—Spiritual Entrainment” by Koen, it probes into theirreplaceable role of music in therapy and healing and the subsequent humanistic implications. Secondly, the idea of integrated art therapy from shamanic healing, especially the holism of body and soul and the integration of art forms, can be of great benefit and reference to the development of modern music therapy. In addition, the dissertation also explores music therapy as a discipline. In the context of interdisciplinary study and localization, the paper lists disciplines that deal with the relationship between music and healing and their connections with music therapy, and hereby clarifies the future development orientation of music therapy. Tracing the connections and historical developments between traditional healing rituals and modern music therapy while referring to an active academic background where increasing attention to therapy, music and culture in medical anthropology and ethnomusicology led to the emergence of Medical Ethnomusicology and Expressive Arts Therapy, the study also reflects upon the predicaments and challenges in building a discipline of music therapy in China. After stating that the absence of a view of musical culture is one of the most important yet often neglected reasons, the paper advances new thoughts and suggestions in developing music therapy in China, including a new thinking in defining music therapy, mode of education and interdisciplinary cooperation that may enrich and complement the basic theories in the discipline of music therapy as well as a prospective conception of integration and return to tradition for the future development of music. Specifically, the development potential of musical psychodrama in China is rethought in view of the trend towards an integrated approach. Though musical psychodrama has long been applied as a means of music therapy in China, its values are yet to be discovered. As an integrated arts approach in modern music psychodrama corresponds to the developments in current academia, a feasibility analysis is also conducted to argue that music psychodrama should be localized to its therapeutic effects and values. Furthermore, the development prospects of ethnic music therapies in China are examined in view of the trend of returning to tradition. Although researches abound in ethnic medicines, most cultural heritages, apart from traditional Chinese medicine(TCM), command little academic attention in China. As a result, the emergency of musical ethnomusicology in recent years will positively impact music therapy in China, allowing the inclusion of more ethnic and traditional modes of healing and treatment. Last but not least, the paper also envisages the development of ethnic music therapies in China and puts forward the proposal of building “ethnic music therapy studio” to trace, record, gather and sort out living “musical healings” in folk rituals, especially those dying therapeutic rituals and rites. The proposal, as the paper states, also calls for the attention of and cooperation among professionals in the music therapy field so that the essentials of music cultural heritages can be extracted and applied in modern music therapy practices. |
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