Moments of thirdness in music therapy: A qualitative meta-analysis embedded in Jessica Benjamin’s intersubjectivity

Background: The study of intersubjective processes is evident across various therapeutic schools, among them music therapy. Several researchers deal with the intersubjective meanings of musical experiences in music therapy. Focusing on unpacking the formation of intersubjective relations through dyadic improvisation, this research cantered on six music therapy studies, all entailing thick descriptions of clinical improvisations or music therapy informed (but non-clinical) improvisation, which also emphasise relational aspects. Methods: Following a four-step methodological sequence, a meta-analysis was performed. After identifying a research question, the researcher gathered related qualitative and mixed-methods studies. Six studies met the inclusion criteria, after which a thematic analysis was conducted to capture underlying themes which reflected intersubjective essence of dyadic improvisation. Finally, the researcher formed a conceptual organisation of different phases of thirdness as reflected in clinical improvisation, forming the results section. Results: Two central themes were identified through the thematic analysis which highlighted distinct developmental phases in clinical improvisation and reflected intersubjective processes as described by Jessica Benjamin: (1) Emerging musical recognition: approaching “one in the third”; (2) Recognition of musical separateness: reaching “third in the one”. Discussion: Embedded in Jessica Benjamin’s intersubjective theory, this paper dealt with the complex construct of thirdness and possible manifestations of it within clinical improvisation. This paper showed how improvisational processes may allow the opening of an intersubjective space between client and therapist and enable mutual recognition in each other’s otherness.