Proceedings, Oxford, UK (2002) - World Federation of Music Therapy

• Barb’s listening and being in music.
• My own music, e.g., development of 4 note melodic motif, a sense of
musical flow, 2 part counterpoint, the placement of tones & intervals
on the piano, i.e., touch, dynamics, register, moving bass line versus
repeated tonal centre (F sharp).
• An intimate and sustained connection in music
• The space between us & the silence around us, i.e., a sense of
spirituality.
• Barb’s presence and body quality, i.e., her intent presence and physical
stillness.
• The quality of her gaze
• The emotional quality of her vocal sounds and facial expressions.
• My feelings - In this improvisation, the balance between my feelings
while playing and Barb’s presence in music was maintained by a
tangible connection between us; a quiet but concentrated intensity.
Of course, the demarcation between factors outside sessions and levels of
listening in sessions is artificially imposed. Barb’s physical dependence
(she needs total care) impacts her life outside and both our lives inside
sessions. Working with Barb for 3 years has created a trusting
relationship that influences my way of being with her. The reflective
analysis of videotaped improvisations has had a significant impact on
how I improvise. Analyzing tapes has allowed me to know what helps
Barb to musically engage. For example, you will hear in the video
excerpt (1) my use of bass accompaniment on piano which allows Barb’s
voice to provide melodic tones or melody, (2) a single bass line which
suggests, but does not fill in, harmonic movement, and (3) playing of a
repeated tone or interval which I call “holding and signaling”. There are
many unknowns with Barb in terms of how she thinks and feels. She is
not able to verbalize what it is like to be a 51 year old woman born with
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