Dissertation - World Federation of Music Therapy

material or intentional phenomenon, or as a psychological or cultural process) should
thus be based on a broad concept of music and music experience in order to cover the
different properties (Bonde 2002; Bruscia 1998; Ruud, 1990, 1998). A well-known,
simple three-level ontological model suggests that the human being may be
understood as body, mind and spirit – (this model can be found in the “Perennial
Philosophy”, in spiritual and Christian literature, in New Age teachings, and in
Wilber’s theoretical works). A corresponding model of the ontology of music
suggests that music may influence the human body, the human mind and the human
spirit. Adding the social and cultural context of the human being we may talk about
the music as a phenomenon influencing four levels or aspects of human existence.
Ruud (1990, 2001) proposed a definition of music addressing four main properties or
encompassing four levels of experience:
Music as a Sound phenomenon: The physiological and bio-medical level,
corresponding to music as a physical sound phenomenon with measurable,
describable and observable properties.
Music as a Structural phenomenon: The level of music as non-referential meaning,
i.e. a language or syntax with specific musico-linguistic and aesthetic rules and
principles, corresponding to music as structure or interplay of specific musical
parameters.
Music as a Semantic phenomenon: The level of music as referential meaning, i.e. as
metaphor, symbol, icon or index in a person’s experience or in a cultural context,
corresponding to music as a means of both interpersonal and individual, yet culturally
framed expression and meaning.
Music as a Pragmatic phenomenon: The level of interpersonal communication and
interaction, corresponding to music as a specific form of social and cultural
interaction or practice.
Researching the music (experience) in music therapy means addressing one or more
of these levels and properties that pose different epistemological and methodological
problems. In the context of this study one important question is for instance: what
kind of knowledge is provided by self-report questionnaires on mood, quality of life
and music therapy experiences? And how is this knowledge different from the
knowledge provided in interviews and through recordings of the sessions? I have
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