Dissertation - World Federation of Music Therapy

LIST OF FIGURES
FIGURE 3. 1 THREE MODES OF REPRESENTATION (HOROWITZ)....
FIGURE 5. 1 HADS ANXIETY PRE–POST–FOLLOW-UP SCORES (A): 6 PARTICIPANTS + MEAN .............144
FIGURE 5. 2 HADS DEPRESSION PRE–POST–FOLLOW-UP SCORES: 6 PARTICIPANTS + MEAN ..............144
FIGURE 5. 3 HADS PRE–TEST POST–TEST FOLLOW-UP SCORES PLACING SUBJECTS WITHIN NORMS ....145
FIGURE 5. 4 QLQ-C30: MEAN SCORES OF 6 PARTICIPANTS ON FUNCTIONAL AND QOL SUBSCALES..........148
FIGURE 5. 5 QLQ-C30: MEAN SCORES OF 6 PARTICIPANTS ON SYMPTOM SUBSCALES..............................149
FIGURE 5. 6 QLQ-C30 PROFILES FROM THIS STUDY AND TWO REFERENCE GROUPS ................................151
FIGURE 5. 7 QLQ PROFILES OF FUNCTIONAL SCALES AND QUALITY OF LIFE. ...........................................152
FIGURE 5. 8 SOC: PRE-TEST, POST-TEST AND FOLLOW-UP SCORES OF 6 PARTICIPANTS + MEAN SCORE....154
FIGURE 5. 9 SOC MEAN SCORES FROM THIS STUDY COMPARED WITH REFERENCE GROUPS..................155
FIGURE 5. 10 SOC: PRE-TEST, POST-TEST AND FOLLOW-UP SCORES OF 6 PARTICIPANTS AS DISTRIBUTED
ON THE SUBSCALE MEANINGFULNESS...........................................................................................156
FIGURE 5. 11 SOC: PRE-TEST, POST-TEST AND FOLLOW-UP SCORES OF 6 PARTICIPANTS AS DISTRIBUTED
ON THE SUBSCALE MANAGEABILITY. .............................................................................................157
FIGURE 5. 12 SOC: PRE-TEST, POST-TEST AND FOLLOW-UP SCORES OF 6 PARTICIPANTS AS DISTRIBUTED
ON THE SUBSCALE COMPREHENSIBILITY. ......................................................................................157
FIGURE 7. 1 THE THERAPIST’S OVERVIEW OF PIJØS THERAPEUTIC PROCESS. .......................................192
FIGURE 7. 2 PIJØS QLQ-C30 SCORES, INCLUDING ALL SUBSCALES .....................................................203
FIGURE 7. 3 THE THERAPIST’S OVERVIEW OF INLAS THERAPEUTIC PROCESS.......................................206
FIGURE 7. 4 INLAS QLQ-C30 SCORES, INCLUDING ALL SUBSCALES....................................................217
FIGURE 7. 5 HADS ANXIETY SCORES FOR PIJØ AND INLA ................................................................219
FIGURE 7. 6 HADS DEPRESSION SCORES FOR PIJØ AND INLA............................................................220
FIGURE 8. 1 NATTIEZ' TRIPARTITION MODEL .......................................................................................232
FIGURE 8. 2 THE DYNAMIC PROFILE OF THE GIM MUSIC PROGRAM POSITIVE AFFECT. .........................243
FIGURE 8. 3 HEURISTIC MUSIC ANALYSIS: FOUR ANALYTIC PERSPECTIVES .........................................246
FIGURE 8. 4 INTENSITY PROFILE OF BRAHMS VIOLIN CONCERTO, 2ND. MOVEMENT] .............................251
FIGURE 8. 5 THE DIGITIZED WAVEFORM PROFILE OF BRAHMS VIOLIN CONCERTO………………………..268
FIGURE 8. 6 INTENSITY PROFILE – BACH’S DOUBLE CONCERTO FOR TWO VIOLINS, 2ND MOVEMENT...271
FIGURE 8. 7 DIGITIZED WAVE-FORM PROFILE OF J.S. BACH: DOUBLE CONCERTO, 2ND MOVEMENT ......273
FIGURE 8. 8 MUSIC ANALYSIS: INTENSITY PROFILE (KOMM, SÜSSER TOD).............................291
FIGURE 8. 9 MUSIC ANALYSIS: INTENSITY PROFILE (MEIN JESU!) ..........................................292
FIGURE 8. 10 REPGRID FOCUS GRID .....................................................................................................302
FIGURE 8. 11 REPGRID PRINCOM DIAGRAM .........................................................................................303
FIGURE 8. 12 DISTRIBUTION OF THE THREE TYPES OF MUSIC IN SESSIONS #1-10...................................305
FIGURE 9. 1 INTENSITY PROFILES OF SUPPORTIVE, MIXED, AND CHALLENGING MUSIC ........................342
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