本研究探討音樂治療師運用即興音樂治療的情緒經驗，研究目的在於理解音樂治療師在即興音樂治療中的情緒經驗、情緒來源、調節與轉化情緒的歷程。本研究採用Greenberg情緒理論（自覺察、表達、調節、反思、轉化情緒）作為文獻對話的基礎。研究方法以半結構深入訪談法蒐集三位音樂治療師的情緒經驗資料，採用質性分析。三位研究參與者皆為女性，音樂治療專業背景分別為以個人為中心取向（the person-center approach）、心理動力自由即興取向（the psycho-dynamic free improvisational approach）、以及心理動力和諾多夫－羅賓斯音樂治療（Nordoff-Robbins, creative music therapy），三位治療師皆採用即興音樂治療作為主要取向。研究結果發現音樂治療師的情緒主題包含：「失控的琴音」、「捉迷藏」、「被誰打敗？」、「共譜心弦」、「生日音樂會」、「生命搖籃曲－不能同行的愛」、「拒絕的力量」、「我們的船歌」、「吟詠心情之歌」。研究結論包括：（1）療效音素包含：同理心、共乘載、親密感、自主性以及安全；（2）音樂治療師的情緒來源有：同理心、共乘載、音樂反移情、情緒感染、個人議題與生活；（3）情感交流能力與繪製情緒地圖能力是以即興音樂表達情緒給個案的關鍵；（4）音樂治療師的情緒歷程均有覺察、調節、反思與轉化，這些歷程會彼此互相影響，但並非按照階段順序進行的；（5）音樂治療師的音樂自我、音樂與情緒三者息息相關。本研究者建議未來研究可探討運用其他音樂治療取向的音樂治療師，在音樂治療中的情緒經驗與療效音素。

This research focused on how to understand the emotional experiences of music therapists who used improvisational music therapy. Greenberg's emotion theory including the awareness, expression, regulation, reflection, transformation was adopted as the basis of conservation on the emotional experiences, source of emotions, the process of regulating and transforming emotions of music therapists in improvisational music therapy with an impact on the significance of treatment. The research method was qualitative oriented by employing a semi-structured in-depth interview to collect data from three music therapists. The research participants were all females with background in the person-center approach, the psycho-dynamic free improvisational approach, and psycho-dynamic and Nordoff-Robbins, creative music therapy, respectively. They also employed improvisational music therapy for their major therapeutic approach. As the analyses of the content revealed, the emotional themes of music therapists were found to be "Out-of-Control Xylophone ", "Hide and Seek", "Who Was Beaten?", " Writing the Heartstrings Together ", "Birthday Concert", "Lullaby of Life, Love That Can't Walk Together", "The Power of Refusal", "Our Ship Song", "Song of Mood". Some conclusions were summarized as follows. First, some therapeutic musical elements included empathy, containment, intimacy, autonomy, and safety. Second, the emotional sources of music therapists were such as empathy, containment, musical countertransference, emotional contagion, personal issues and the life. Third, the emotional communicability and emotional mapping were the keys to express emotions to the client by improvisational music therapy. Forth, the emotional process of music therapists was highlighted with awareness, regulation, reflection and transformation. These stages affected each other, but did not occur in an order of the stages. Finally, the musical self of the music therapists, the music and emotion of the music therapist were closely related. The researcher suggested that in the future, for music therapists who adopted other approaches in music therapy, the emotional experiences will be significant with the use of therapeutic musical elements.

目錄
中文摘要……………………………………………………………………………....I
英文摘要……………………………………………………………………………...II
目錄	IV
圖目錄	VI
表目錄	VI
第一章　表達心中的樂音－譜曲的動機	1
第一節　譜曲的動機	1
第二節　譜曲的目的與問題	4
第三節　音樂術語說明－名詞釋義	5
第二章　導奏悠揚－回首前人的樂曲	7
第一節　曲式說明－即興音樂治療	10
第二節　譜曲家之一－音樂治療師	29
第三章　串連散落的樂句－樂曲形式	52
第一節　譜曲的方法與設計	52
第二節　樂曲分析	67
第三節　探究的信實度	71
第四節　探究倫理	72
第四章  聆聽音樂治療師的即興曲	73
第一首　小楓的即興曲	73
一、小楓的導奏...……………………...……………..73
二、小楓的即興曲－失控的琴音……………………73
三、小楓的即興曲－捉迷藏…………………………75
四、小楓的即興曲－被誰打敗？……………………77
五、小楓的即興曲－共譜心弦………………………82
六、小楓的尾奏－自我照顧…………………………86
七、療效音素…………………………………………87
第二首　米米的即興曲	93
一、米米的導奏……………………………………….93
二、米米的即興曲－生日音樂會…………………….94
三、生命搖籃曲－不能同行的愛…………………….95
四、米米的即興曲－拒絕的力量…………………...102
五、米米的尾奏－自我照顧………………………...106
六、療效音素………………………………………...107
第三首　莎莉的即興曲	109
一、莎莉的導奏……………………………………...109
二、莎莉的即興曲－我們的船歌…………………...110
三、莎莉的即興曲－吟詠心情之歌………………...115
四、莎莉的尾奏－自我照顧………………………...118
五、療效音素………………………………………...120
第五章　曲終音存－討論與結論	124
第一節　綜合討論	124
第二節　結論	128
第三節　我的反思	143
參考文獻	150
附錄一　訪談同意書	169
附錄二　訪談大綱	170
附錄三　訪談札記	171
附錄四  期許樂譜1	172
附錄五  期許樂譜2	173
附錄六  期許樂譜3	174
圖目錄
圖1音樂治療師與個案的治療關係   ……………………………….……….…..85
圖2生命搖籃曲：不能同行的愛－案家示意圖……………………………..……96
圖3期許主題樂句示意圖………………………………………………………....143

表目錄
表1受訪者資料整理………………………………………………………………..66
表2編碼對照表……………………………………………………………………..68
表3小楓的訪談逐字稿（分析單位）………………………………………….….68
表4小楓的訪談逐字稿（核心意義）………………………………………….….69
表5小楓的訪談逐字稿（主題命名）……………………………………………..70

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