Restituerende faktorer i gruppemusikterapi med psykiatriske patienter.

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Part 2. A qualitative in depth analysis of four of the nine patients based on a qualitative model inspired by Grounded Theory. The analysis included both vertical and horizontal aspects of each patient and characteristic patterns from all four patients. Model of Research project Part 1 Results: 370
The GAF study showed that participants had a very low level of functioning at the start of the therapy. They received scores between 31 and 40, which indicates a low level of functioning in the area of communication. They had disturbances of thought and a significantly decreased level of functioning in the areas of work, family relations, judgment, cognitive thinking and affect. Several patients were delusional and suicidal. None of them were employed and several were homeless. Generally they had few or no friends. The study showed an average improvement of 7.2% on the GAF scale after 6 months of music therapy, which is satisfactory. Besides music therapy, treatment consisted of hospitalization on a psychiatric ward, <strong>med</strong>ical treatment, and for most of the participants, milieu therapy on a psychiatric unit. Therefore it is difficult to determine which of the therapeutic interventions was the most effective, since there were no control group. From the questionnaire survey (30 questions) it appeared that psychotherapeutic aspects such as: trust, responsibility, openness, and awareness of emotions had great significance for the patients. It also appeared that the patients validated the importance of being understood, as well as their own contribution in the therapy. They saw themselves as very motivated, and this was reflected in a very stable attendance (98%). Furthermore, patients underlined the importance of the therapists' sympathy and understanding. The patients' positive evaluation of the therapists indicated a good therapeutic alliance. However, the very positive evaluation might also imply elements of idealization. Furthermore, it is interesting and significant that the patients evaluated the music very positively. I have occasionally encountered skepticism regarding exposing such poorly integrated patients to this method of music therapy, where we allow patients to lie down during music-listening and open up for their fantasies and emotions through the music. One could fear that psychotic symptoms and anxiety could be reawakened. It is therefore especially interesting that the patients for the most part responded positively regarding the music in the questionnaire. From a music therapy point of view it is also significant that the music selections were not experienced as frightening by these fragile patients (question 27). Finally, the patients also emphasized that the combination of music and conversation, as well as the combination of music and imagery, was "a good idea". They found that the music helped them to become aware 371
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Restituerende faktorer i gruppemusi
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Forskning..........................
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Dispositioner: ....................
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KATEGORI V: FORSVARSASPEKTER.......
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Kapitel 1 Indledning Forord Flere
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Baggrund for projektet Skizofreni e
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Priestley, hvorledes hun udviklede
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kunstanalog udviklingsform, som man
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Jeg opfatter det at arbejde udfra G
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Skizofreni -psykopatologi Historisk
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pådragelse af hjernedefekter i for
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al.1997) Det er ikke muligt at påv
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eller som pårørende. I den psykot
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casestudies beskrevet, hvorledes mu
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under musikken med hinanden, hvilke
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“Disability Acessment Scale”. U
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(den psykiatriske afdeling). Grete
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sit ”opmærksomhedsfokus” i for
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favoritmusik under indtagelse af LS
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Client reclines on mat Group sits o
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cyklisk proces, hvor musikken gener
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kommunikationsforhold imellem terap
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en følelse bliver først opfattet
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optræder i symbolsk form under mus
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metode, hvor musikken spiller en ce
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indeholder bl.a. en case, hvor GIM
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4. Musikkens strukturerende og saml
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Model: GIM og GIM modifikationer i
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Opsummering Mine erfaringer med ski
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musikterapimetoder overfor skizofre
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sandheden, hvilket efter hans menin
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The aim of this paper is to suggest
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”Objektivitet” erstattes af ”
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• Qualitative research is empiric
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korresponderende med realiteterne.
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E: Om denne position skriver Ruud:
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I konkrete forskningsprojekter fore
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I forhold til fortolkningsperspekti
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Det hermeneutiske paradigme er her
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af en sag. En sag kan være (1), et
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Den psykoanalytiske terapi er iføl
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Udviklingspsykologiske perspektiver
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tilstrækkelig tilfredsstillende ge
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nævnte rækkefølge. Stern har ogs
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Fulcrum Model af Wilber: Da mit pro
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selvopfattelse, som er differentier
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Baggrund, ændring og udvikling af
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grundlaget for min kategoridannelse
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mente patienternes udsagn kunne “
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patientens historie. En dekonstrukt
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være unik for ethvert projekt, men
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Opbygning af analysemodel - Unders
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Integration Dette trin er selve teo
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Kapitel 4 - Undersøgelsens design
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Miljø Behandlingen foregår i vele
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Patienterne fortæller om hvilke fo
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SPØRGESKEMA: I hvilken grad opleve
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C: Hvilke konkrete begivenheder ell
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Resultat af forskningsmetode I GAF
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Semistruktureret interview, I /C Pa
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121
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B: Nogle ting som du har savnet i d
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tumlede med. Selve det at lytte til
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8. 42 - 42 (5): Sp. 19, 26, (1): Sp
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historie naturligvis er unik. Pt. A
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Undersøgelse vedr. Musikkens Rolle
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faderen generelt er bedre end til m
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Forløb: almen åben afdeling, tilb
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4. Lars Trier/Menzer: Morning Glory
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8. Anjaligruppen #6 Individuelle te
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Miljø skabt af musikken, møde med
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17. Massenet "Meditation" Hvad musi
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21. Beethovens 5. Klaverkoncert. 2.
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24. Boccherini: Cello koncert i Bb,
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28. Beethoven 5. Klaverkoncert, 2.s
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11 (fortæller spontant som den fø
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. Transformation 7 (ønskedrøm om
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det af notaterne f.eks. i session 1
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psykologisk ligger til grund for ha
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hans oplevelser under musiklytninge
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Kapitel 6 - Case nr. 2 - patient. B
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hun synes ikke, hun kunne magte at
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musik/guidning oplevelser mine komm
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5. Anjaligruppen: “Melodies of An
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10. C: Nielsen: Tågen letter (Lars
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13. Bach: Come Sweet dead + Saraban
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16. Anjali 3. stykke Tur langs stra
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lomst, se om den trænger til pleje
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23. Anjaligruppen: #1 Havevandring
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stranden i en lille båd 28. Beetho
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Vertikal Analyse Restituerende fakt
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IV. Interpersonelle aspekter Interp
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16,19,20 (solen som både truende o
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man skal være voksen. Hun opfatter
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også tænkes at afspejle Bs længs
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I besvarelsen fremhæver B (som i s
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dyrke sport på en måde så alle m
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somatiske undersøgelse. I foråret
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Case nr. 3 pt. C Patienten er nr. 4
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3. Carl Nielsen: Tågen Letter. (Ve
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Bach, Koncert for 2 Violiner: Largo
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8. Goudnod: St. Cecilia Mass: "Offe
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11. Keith Jarret: "Vienna Concert"
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evt. forbundet med et sted i nature
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der dukker op i forhold til musikke
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2.sats Trappe ned i have undersøge
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25. Anjali gruppen # 1 Sted i natur
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28. Pachelbel: Canon i D Tur på st
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31. Beethovens 5.Pianokonc. 2. sats
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Analysemodel - restituerende faktor
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11 (sørgmodighed) 12 ( positiv gen
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17 (angst på kirkegården) 22, 23
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løse problemer, som opstår eller
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“høvdingebilledet” session 18,
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Referencer til musikken. C har kun
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sit gravsted med en sten med dato p
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Kapitel 8 - Case nr. 4, pt. P Anamn
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andre mennesker. Efter 1. indlægge
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Musik/guidning patientens oplevelse
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5. Mahler 5.symfoni, 4.sats (udsnit
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8. Górecki: Symf.no.3, 2.sats Hist
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* afbud 13. J.S. Bach: “Hyrdernes
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16. Strauss: “Heroes Journey” P
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20. Marcello: “Obokoncert” Dit
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live udenfor på afd. Opfatter sig
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6 (har altid været tilskuer) 8 (pu
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Andre adækvate forsvarsmanøvrer:
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åde reflekterer over sin ungdom, b
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dynamikken i musikken. (8). I sessi
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efterhånden som forløbet skrider
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mister troen på en forandring. P h
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C: A: B: P: I a. Selverkendelse: 1
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Kategori I a: Selverkendelse handle
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B: C: P: b.- Andre følelser/følel
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kategorien “Følelser af eller re
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Små tegn på håb dukker op i hend
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Ved stædigt at fastholde håbet og
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A: B: C: P: 10 ( anerkendende bemæ
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A: B: C: P: A: benævnt Bs “conta
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tegneserieagtige. Dermed bliver et
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et dynamisk begreb anskuet udfra ko
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… a condition that represents fai
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A: B: Generel karakteristik af kate
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• åndelige og religiøse begrebe
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kropsbilleder fremgår f.eks. også
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2. “A combination of the abstract
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I artiklen “Metaphor and Narrativ
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A: Eksempler fra mit materiale vil
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Anjali: Melodies of Ancient India #
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Musikanalyse ift. musikoplevelsen J
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Han kom ud i et åbent landskab med
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I modsætning til min analyse af
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A. B. C. P. “tvivl om patienterne
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- positiv feed-back til gruppen - a
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4. Seeing self as seen by others, 5
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gruppen - og dermed også hans krop
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illustration af teorien. I følge o
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tænkes at have internaliseret et s
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psykodynamik. Diagnostisk pegede de
Page 319 and 320: terapeutisk alliance. Den meget pos
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Page 323 and 324: patienter, som jeg har omtalt i kap
Page 325 and 326: • musikken som afgrænsende fakto
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Page 329 and 330: I den terapeutiske setting foregår
Page 331 and 332: musikken stimulerer den individuell
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Page 335 and 336: i en ubærlig ansvarsfølelse. Pati
Page 337 and 338: II III IV V VI M P M M M M Musikken
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Page 351 and 352: Bevidst Ubevidst Vegetativ aktiv Na
Page 353 and 354: MODEL 7 Refleksion: Narrativ konfig
Page 355 and 356: Ontogenetisk Model HOROWITZ (M.FL.)
Page 357 and 358: MUSIKKEN MUSIKKEN Oplevelse af enhe
Page 359 and 360: (rekonfigureret) enten direkte elle
Page 361 and 362: development which has taken place g
Page 363 and 364: tilfredsstillende, og det har være
Page 365 and 366: Resumé: Titel: Restituerende fakto
Page 367 and 368: Modellen indeholder bl.a. kognitive
Page 369: In GIM the music listening provides
Page 373 and 374: occurrence of images of protection
Page 375 and 376: Forlag Benzon, B., Pious, C.Parson,
Page 377 and 378: 13-23 Buber, M. (1968). Jeg - Du. O
Page 379 and 380: Gillian, S. (1983). The use of impr
Page 381 and 382: Musikterapi AAU. Aalborg DK, Aalbor
Page 383 and 384: Universitetsforlag. Afhandling. Lun
Page 385 and 386: and Music. Journal of the Associati
Page 387 and 388: 116. Smeijsters, H. (1997). Multipl
Page 389 and 390: Nordic Journal of Music Therapy vol
Page 391 and 392: Beethoven: Klaversonate Opus 27 nr.
Page 393 and 394: Elgar, Enigma Variationer nr. 8 + 9
Page 395 and 396: Marcello: Obokoncert i c mol, Adagi
Page 397 and 398: Supportive CD, Barcelona Pub. / Nax
Page 399 and 400: Kapitel 13: Bilag Bilag nr. 1: Kate
Page 401 and 402: Bilag nr.3: Om Fænomenologi Fænom
Page 403 and 404: There is room for both the self-as-
Page 405 and 406: Bilag nr. 7: - GAF Manual Manualen
Page 407 and 408: Bilag nr.8: Patientdata Data for de
Page 409 and 410: Bilag nr. 10: Patient Case - Pt. Nr
Page 411 and 412: Lad musikken danne fokus Hører ikk
Page 413 and 414: Bilag nr. 10: Patient Case - Patien
Page 415 and 416: 13. Vivaldi: De 4 årstider; forår
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