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Level 3: Advanced Diploma in GIM and MI


The course is open to those who have satisfactorily completed the Certificate and Diploma level MI courses and their requirements. The Bonny Method of GIM is taught, along with other types of GIM and MI and various specialist techniques.  


The focus in the first two seminars is on developing core GIM skills. Each of the remaining seminars has a theme allowing a key dimension of the work to be explored in depth. The role of the music as 'co-therapist' is emphasized throughout, with the GIM music programmes introduced in a systematic way, a few at a time. Jungian, person-centred, psychodynamic, transpersonal and neuroscience-based perspectives are explored drawing on the GIM literature and research.


Each seminar includes a balance of didactic and experiential sessions. Group supervision is also included. In the first two seminars, there is a strong emphasis on experiential learning involving Bonny Method of GIM dyad work. Interactive Group GIM or Music, Drawing, Narrative (Booth 2005/6) experiential sessions are included in all the later training seminars.


The content of the seminars as outlined below is given for guidance only and is subject to revision and change. The training seminars generally last 3 days and are held 4-6 months apart. A number of international guest trainers are involved in delivering the training programme in 2018-2020: Professor Gro Trondalen (Norway), Professor Lisa Summer (USA), Dr Torben Moe (Denmark), Marilyn Clark (USA), Dr Dag Korlin (Sweden).




Seminar 1: Developing core skills in GIM 1


Trainees work on developing the core skills needed to facilitate individual GIM sessions (Bruscia, 2015), with a strong emphasis on experiential learning. The trainees learn about some of the music programmes typically used in the early stages of the GIM process. Contained Spontaneous Imaging is also taught, a useful structured technique for inexperienced clients or when GIM in its original form is not suitable. The trainees prepare to undertake a series of GIM practice sessions between the completion of this and the next seminar.



Seminar 2: Developing core skills in GIM 2


Trainees continue to develop their core skills and understanding of GIM through experiential learning. Their understanding of the nature of the work is developed with reference to GIM theory (Goldberg 2002). More of the 'beginning music programmes' are introduced. There is further training in contained spontaneous imaging and discussion of its application in the trainee's clinical practice. Group supervision is included of the GIM practice sessions the trainees have delivered. The trainees undertake a further series of supervised practice sessions following the seminar.



Seminar 3: The music and music programmes in GIM


This seminar involves an in-depth, experientially based exploration of the music to enable trainees to more fully understand its nature, role and potential in the work. Trainees are introduced to different approaches to music analysis in GIM (Abrams 2002a). They learn how to carry out a Heuristic Analysis of a music programme. This is grounded in listening to the music in an altered state of consciousness.  Guest trainer Gro Trondalen covers aspects of GIM with musicians, time-limited and focused short-term therapy, and aspects of the GIM relationship.



Seminar 4: Psychodynamic aspects of GIM and MI in individual and group work


This seminar includes an exploration of transference and counter-transference in GIM where clients can have positive and negative transferences to both music and therapist (Bruscia 1998a, Summer 1998).  Guest trainer Torben Moe teaches individual and group formats for MI. This is illustrated by work with traumatised refugees (Beck et. al. 2018) and clients with schizophrenia (Moe 2002), exploring psychodynamic aspects of the work. Psychodynamic aspects of interactive group GIM are explored directly through the trainee's experience of it during the seminar.



Seminar 5: Archetypal perspectives and mandala drawing in GIM


The aim of this seminar is to enable trainees to grasp the nature of imagery and the therapeutic process in more breadth and depth. Trainees are introduced to perspectives on imagery as metaphor (Bonde 2000, Siegelman 1990). Grocke's research into 'Pivotal Moments' is presented to illustrate how change and transformation can occur in GIM with an impact beyond the sessions themselves (Grocke 1999). Guest trainer Marilyn Clark teaches 'the great round of the mandala' (Fincher 1991), mandala drawing being often used in GIM to enrich and consolidate the client's imagery experience. Clark's teaching incorporates an exploration of the 'Hero's Journey' (Campbell 1975/49, Clark 1995) and of archetypal dimensions of the process in GIM.



Seminar 6: Transpersonal dimensions of GIM,  'Music Breathing' and perspectives from neuroscience


Psychological and spiritual development often go hand in hand in GIM (Goldberg 2002). The focus of this seminar is on the transpersonal and spiritual dimensions of the process and associated types of imagery experience (Abrams 2002b). Therapists and clients may have widely differing personal attitudes to, and experiences of religion and spirituality. This is considered in relation to the development of spirituality through the lifespan (Fowler 1995, Wilber 2000). Guest trainer Dag Korlin teaches about 'spiritual emergencies' (Grof 1989). He also leads a workshop on 'music breathing' (Korlin 2008), a specialist MI method used with clients with complex PTSD. As a part of this, Korlin discusses a neuroscience-oriented understanding of music and imagery.



Case studies and final projects conference


The training finishes with 2-day conference during which the trainees present their case studies or other GIM related projects. 





  • Receive 20 personal Bonny Method sessions. 

  • Give 85 supervised GIM client sessions

  • Supervision report

  • Personal therapy report

  • Case study

  • Prescribed reading and written reports

  • Music analysis

  • A final project


These requirements are subject to change and confirmation as new European GIM Training Standards are developed and come into force.

Trainees are responsible for paying for the course materials required (books, music) and the fees for individual supervision and personal therapy.


Following satisfactory completion of all the requirements, trainees will be eligible, subject to the recommendation of the Primary Trainer, to become Fellows of AMI and will be qualified to practice the full spectrum of contemporary MI and GIM methods including the Bonny Method.





Abrams, B. (2002a). “Methods of Analyzing Music Programs Used in the Bonny Method”. In: (eds.) Bruscia, K.E. & Grocke, D.E., Guided Imagery and Music: The Bonny Method and Beyond. Gilsum NH: Barcelona Publishers.


Abrams, B. (2002b).  “Transpersonal Dimensions of the Bonny Method”. In: (eds.) Bruscia, K.E. & Grocke, D.E., Guided Imagery and Music: The Bonny Method and Beyond. Gilsum NH: Barcelona Publishers.


Beck, B. D., Messel, C., Meyer, S. L., Torben, T. O., Søgaard, U., Simonsen, E.  & Moe, T. (2018): Feasibility of trauma-focused Guided Imagery and Music with adult refugees diagnosed with PTSD: A pilot study. Nordic Journal of Music Therapy, 27 (1).


Booth, J. M. (2005/6). “Music, Drawing, and Narrative: An Adaptation of the Bonny Method of Guided Imagery and Music”. In: Journal of the Association for Music and Imagery (10).


Bruscia, K.E.(1998a) “Manifestations of Transference in Guided Imagery and Music”. In: Bruscia, K.E. The Dynamics of Music Psychotherapy. Gilsum, NH: Barcelona Publishers.


Bruscia, K. E. (2015). Notes on the Practice of GIM. Gilsum NH: Barcelona Publishers.


Bruscia, K. E. & Stige, B. (2000). “The Nature of Meaning in Music Therapy: Kenneth Bruscia interviewed by Brynjulf Stige.” In Nordic Journal of Music Therapy, Volume 9(2)


Bonde, L. O, (2000). “Metaphor and Narrative in Guided Imagery and Music”. In: Journal of the Association for Music and Imagery 7.


Campbell, J. (1975/1949) The Hero with a Thousand Faces. London: Sphere Books.


Clark, M.F. (1995). “The Hero’s Myth in GIM Therapy”. In: Journal of the Association for Music and Imagery


Fincher, S. E. (1991). Creating Mandalas. Boston: Shambhala


Fowler, J. W. (1995). Stages of Faith. San Francisco: Harper Collins


Goldberg, F.S. (2002). “A Holographic Field Theory Model of the Bonny Method of Guided Imagery and Music”. In: (eds.) Bruscia, K.E. & Grocke, D.E., Guided Imagery and Music: The Bonny Method and Beyond. Gilsum NH: Barcelona Publishers.


Grof, S., & Grof, C. (1989). Spiritual Emergency: When Personal Transformation Becomes a Crisis. New York: Tarcher-Putnam.


Grocke, D. (1999). A Phenomenological Study of Pivotal Moments in Guided Imagery and Music (GIM) Therapy. PhD, University of Melbourne. Available from:


Grocke, D., & Moe, T. (eds.) (2015). Guided Imagery & Music (GIM) and Music Imagery Methods for Individual and Group Therapy. London: Jessica Kingsley Publishers.


Korlin, D. (2008). “Music Breathing: Breath Grounding and Modulation of the Bonny Method of Guided Imagery and Music (BMGIM): Theory, Method, and Consecutive Cases”. In: Journal of the Association for Music and Imagery 11.


Moe, T. (2002). “Restitutional Factors in Receptive Group Music Therapy inspired by GIM”. In: Nordic Journal of Music Therapy 11 (2).


Paik-Maier, S. (2010). “Supportive Music and Imagery Method”. In: Voices: A World Forum For Music Therapy, 10(3). Available from:


Siegelman, E.Y. (1990). Metaphor and Meaning in Psychotherapy. New York: The Guildford Press.


Summer, L. (2009). Client Perspectives on the Music Experience in Music-Centered Guided Imagery and Music (GIM). PhD, Aalborg University, Denmark. Available from:


Wilber, K. (2000). Integral Psychology. Boston: Shambhala




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