Dissertation - World Federation of Music Therapy

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2. What is the specific nature of the imagery or image configuration of cancer survivors in GIM? The results of this analysis are presented in section 6.2. 3. How does the imagery develop and/or is re-configured during GIM therapy? The results of this analysis are presented in chapter 7, the two case studies. 6.1 The interview study The exploration of the participants’ experience of GIM and its effects on mood and quality of life in the rehabilitation process required qualitative, semi-structured interviews with all six participants. The interviews were conducted by the researcher 1-2 weeks after follow-up. This timing enabled the researcher to include provisional findings from the quantitative study in the dialogue. The interviews were transcribed (App. 6.4.1-6, four only in Danish, two also translated into English) and analyzed according to principles of grounded theory research (Creswell 1995; Robson 2002; Strauss & Corbin 1995). The first step, however, was to establish a checklist whether the interview undertaken with each participant addressed all topics required or suggested in the interview guide (included as app. 6.1) Table 6. 1 Checklist providing information on key issues addressed in the interviews NAME + length of interview / Issue/theme: Filling out questionnaires The therapeutic process WIFU 1h40m INLA 1h25m PIJØ 1h10m ANHO 1h10m ESMA 1h50m X X X X X X X X X X X X The Music X X X X X X The Imagery X X X X X X (The Mandalas) - X - - - X MT/GIM compared to other types of psychotherapy or psychosocial support X X X X X X 166 SAAA 1h20m
Potential of GIM in other phases of cancer treatment Weekly/Biweekly sessions OTHER THEMES (introduced by participants) ”The most important” in the process Qualities of the therapist X X X - X X X X X X X X X X X X X - X X X - X X Importance of dialogue on problems X X - X - X Other/personal - X - - X X Member check of interv. transcript X X X X X X Table 6.1 shows what issues were clearly addressed by which participants. Issues in the upper half of the table were included in the guide, however, it was optional for the participants to talk about mandala drawing, as this was also an optional element of the sessions. “Other themes” are examples of issues introduced in the interview by the participants. The participants decided the location of the interview. Four of the interviews took place in the participant’s home, while two took place in the researcher’s home. The interviews were semi-structured – or, in a different terminology, respondent interviews (Robson 2002, p. 270f) – i.e. focused and to a certain extent controlled by the interviewer/researcher. The interview guide (app. 6.1) was the researcher’s “schedule” (Robson 2002, p. 278), but the sequencing and wording of the questions was free, allowing the dialogue to develop in a fairly natural way. The respondents were familiar with the interviewer from the intake interviews, and they knew that he had studied the therapist’s transcripts and the self-report questionnaires as a preparation for the interviews. This made the interview situation less formal, more personal and intimate. As indicated also by the length of the interviews the participants were more or less elaborate in their answers and comments. This reflects their different personalities, not a changing attitude of the interviewer, who encouraged all participants to speak freely and deepen short answers. Table 6.1 shows 167
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THE BONNY METHOD OF GUIDED IMAGERY
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Ph.D. student’ with me the last t
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vi 4. METHODOLOGY..................
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viii
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TABLE 8. 4 EVENT STRUCTURE ANALYSIS
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xii
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xiv
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xvi
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As you will see there are many comm
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The participants in this study use
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Music in medicine The terminology o
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Music in medicine vs. Music therapy
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more likely a reaction to a cancer
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melanoma Boesen (2002) reviewed the
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test showed that there was less ten
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More general overviews of how music
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Table 2. 1 Literature on BMGIM and
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Populations include non-clinical/he
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McKinney 1990 University students M
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Table 2.2 shows that most of the st
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Facilitating peak experience Provin
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express and work on their experienc
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2) locus of control (inner mastery
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in contrast to Burns’ study, the
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In Denmark two music therapists hav
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3 Theoretical background 3.1 Introd
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metaphor influenced each other in o
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is closely related to the body and
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structures or patterns that “allo
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explaining a phenomenon with other
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Ricoeur agrees with Ernst Cassirer
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“It appears as though certain fun
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daily life myths and fairy tales ma
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extent that it is organized after t
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Table 3. 4 Three moments of mimesis
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Thus, symbols and metaphors are the
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4. Psychotherapy as humane care - r
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I suggest the following working def
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The scale of Klein et al. was not u
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In a psychological perspective meta
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3.5 Narratives in psychotherapy In
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second category (analogous to ‘in
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“There currently exist no consens
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Table 3. 7 Mimesis 1-3 in narrative
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3.6.1 Music as analogy A paper by D
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Smeijsters has coined the double co
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Table 3. 8 Musical elements interpr
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function through its pre-existent s
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end, motion and rest, tension and r
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Lakoff and Johnson’s cognitive th
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crying, or symbolized as falling ch
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our analyses. For it is only by ope
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Based on his study Jungaberle formu
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and ending on dominant a - a new ro
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cross is inevitable, and the music
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is the instrumental Ground from Blo
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therapists. Open and attentive list
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closely related to basic human self
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less elegant dance. My dance is a b
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describes him or herself as ‘feel
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asket and then lie down, tell about
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Holocaust Shadow (Schulberg 1999),
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Craftsmen are working The foundatio
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series of actions and transformatio
Page 131 and 132: References to examples in the BMGIM
Page 133 and 134: “Sublime music tells in its own w
Page 135 and 136: 4. Methodology Following on from ch
Page 137 and 138: trained in Aalborg is still indigen
Page 139 and 140: 3) The study has its starting point
Page 141 and 142: material or intentional phenomenon,
Page 143 and 144: can also be applied in multiple met
Page 145 and 146: Table 4. 1 Basic information on the
Page 147 and 148: • The preliminary conversation (a
Page 149 and 150: One week before project start all p
Page 151 and 152: Participants score each item on a 4
Page 153 and 154: c) Audio recordings (mini-disc) of
Page 155 and 156: • Specification (1. Sensitizing c
Page 157 and 158: The imagery of the six participants
Page 159 and 160: 5. Results of the quantitative inve
Page 161 and 162: The mean score of the group in depr
Page 163 and 164: Table 5. 2 Effect sizes measured at
Page 165 and 166: Figure 5. 5 QLQ-C30: Mean scores of
Page 167 and 168: These results are variable, and onl
Page 169 and 170: Statistical analysis of QLQ-C30 res
Page 171 and 172: Figure 5. 9 SOC Mean scores from th
Page 173 and 174: Figure 5. 11 SOC: Pre-test, post-te
Page 175 and 176: Results - inferential statistics an
Page 177 and 178: The results support hypothesis ten.
Page 179 and 180: generalised further, was evidently
Page 181: 6. Results from the qualitative inv
Page 185 and 186: coding, where the categories are in
Page 187 and 188: PIJØ: It has been very hard for me
Page 189 and 190: how should it be, should there be m
Page 191 and 192: changing. Participants described ho
Page 193 and 194: IMPROVED UNDERSTANDING OF SELF (NEW
Page 195 and 196: elated subcategories. Using specifi
Page 197 and 198: D. In a few sessions the therapists
Page 199 and 200: B1 Metaphorical investigations of t
Page 201 and 202: imaging. This becomes even clearer
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Page 205 and 206: 7. Two case studies. A mimetic anal
Page 207 and 208: The two cases will be presented sep
Page 209 and 210: In fig. 7.1 the therapist has given
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Page 215 and 216: Level 3 Configuration is the core o
Page 217 and 218: Trials and Tasks Observes a grey ar
Page 219 and 220: pre-test level at follow-up, while
Page 221 and 222: She knew that her own scores had no
Page 223 and 224: In fig. 7.3 the therapist has given
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Page 227 and 228: and I might as well accept it. Roge
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Figure 7. 4 INLAs QLQ-C30 scores, i
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• the courage to confront dangers
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e observed, also in this axis, that
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’story line’ and writes a story
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Table 7. 7 A grounded theory model
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episodes dominated by (inner) body
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8. Analysis of music and imagery Th
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8.1.1 Qualitative music research In
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This means that: Description is nev
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methods intended for analysis of (p
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following preparations: 1. Informat
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An Eclectic Approach to the analysi
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was used to investigate potential c
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Figure 8. 2 The dynamic profile of
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there was dialogue between solo ins
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were used partially (in 35 sessions
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Following the guidelines of HMA the
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Figure 8. 4 Intensity Profile of Br
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Figure 8. 5 The digitized waveform
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for assessment. In this project the
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score it is possible to see exactly
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B2 (46-51) V/E Ot B3 (52-55) E Ot V
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C2 (91-100) R R V/S V/E C3 (100-106
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The analysis of the unfolding image
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she only reports verbally that she
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• The complete narrative, based o
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an experience further before finish
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Figure 8. 6 Intensity profile - Bac
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This profile - or map of the’ inn
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Table 8. 4 Event structure analysis
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A5+t (14-16) B1+t (17-21) R S S R V
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B5 (37-39) B6 (39-41) answered tona
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V and irritated, not R wanting to s
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ANHO: The client still has difficul
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For the five of the six participant
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• Analysis of the image potential
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Text and music with accompaniment w
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section of music that visually illu
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intensity increasing feature is the
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A1 (1-10) R/V E S/E B1 (11-21) R/V
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B1 Mein Jesu A1 (1-6) V R E R S V A
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B B3 (after music) E E S side? (tea
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Jesu evoked images related to death
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String Quartet as the most challeng
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Figure 8. 12 Distribution of the th
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Table 8. 7 A grounded theory model
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the imagery: the client reacts with
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9. Discussion “..Where the mind i
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possible to show a decrease in both
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9.1.3 The role of music and imagery
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specific therapeutic influence in t
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or measurable influence on the part
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As these findings are not consisten
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adiotherapy treatment. These commen
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this study (the only exception bein
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and why they are comprehensible and
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was that core images did emerge and
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actually no alternative to “will
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9.2.3.3 The proposed grounded theor
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This leads to the critical question
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The proposed grounded theories cove
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eautiful room with candles, flowers
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eventual climaxes and peak points c
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The three categories illustrated in
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scores are influenced by my negativ
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9.4 The development of new theoreti
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9.4.2 Heuristic music analysis as c
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client’s playing in improvisation
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Anxiety and anger are very importan
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Bonny found that the musical elemen
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support and explain how BMGIM can b
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9.6 Directions for future research
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comparative analysis including a nu
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music listening has been substantia
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What elements are there that descri
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1) Can ten BMGIM sessions improve t
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After every session questionnaires
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The analyses of metaphors and image
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not be sufficient to saturate a sub
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hvordan BMGIM kan have en positiv v
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individuelle BMGIM-sessioner, som r
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C30-scores viste stigninger i genne
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• Heuristisk Musikanalyse (Brusci
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som velegnet til psykosociale under
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REFERENCES (2002). Appendix B: Musi
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Ansdell, G. (2001). Musicology: mis
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Bonde, L. O. (2002). Introduction t
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Bonny, H. L. and L. K. Marids (2001
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Clark, M. (1998). The Bonny Method
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Ferguson, D. N. (1960). Music as Me
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Hilliard, R. E. (2002). The effects
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Keiser, L. H. (1986). Conscious Lis
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Mahns, W. (1998). Symbolbildungen i
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Munro, S. (1993). "Music therapy in
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Robbins, C. and C. Robbins (1991).
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Short, A. E. (1997). "Jungian arche
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Tüpker, R. (1988). Ich singe was i
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Zachariae, B. (1997). "Forestilling
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LIST OF APPENDICES LIST OF APPENDIC
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Appendix 4.1 Data on six participan
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ESMA: 65 years old, married, three
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Appendix 4.2 Patientinformation (in
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Appendix 4.3 The HADS questionnaire
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Spørgs - mål nr. Vælg ét svar f
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Appendix 4.4 The EORTC QLQ-C30 ques
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427
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Fig. 5.14 ESMAs QLQ profile 120 100
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Fig. 5.18 WIFUs QLQ profile 120 100
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Appendix 6.2 Illustration of the de
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435
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henføre dem entydigt til noget som
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Ja. Hvert eneste gang har det være
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Det er meget rigtigt. Jeg har jo ik
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omgangshøjde endnu. Det er 2-3 år
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Ham ville jeg godt hilsen velkommen
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them out. Questionnaires like these
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it is the music! No, it is not only
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Maybe it influences me so strongly
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the music should be different. (…
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[Are there other images that you…
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Ja det tror jeg. Hvor er det lige j
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drømme jo også - de kommer også
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De hører fuldt ud sammen. Hvis man
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[The questionnaires indicate that y
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guess it has been working in the su
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them, many stairs and things like t
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Appendix 6.4.3 Interview med ESMA 9
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været mere eller mindre på afstan
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skørt, for det er virkelig svært
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den der kæmpeindsats, som jeg har
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emærker at de er der - de skal bek
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jeg ville nødig undvære musikken
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[Folkene bag spørgeskemaerne hævd
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Nej desværre ikke. Altså sådan m
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Nej ikke nødtvungent! ... Men det
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Ja, og jeg føler, at jeg ’fylder
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Der er lissom om jeg er på den and
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meget, og også at give fred; men o
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sådan det er. (Jeg sider og prøve
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[Men hver anden uge er meget passen
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andet sted at jeg har haft meget ti
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f.eks. ’Du er blevet meget mere a
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Og så får jeg lyst til at lave no
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der har arbejdet med de her ting? H
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Berlioz: 4 X PIJØ: #3,2 7 1 L’en
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Marcello: Oboe Concertor, 2nd movem
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WIFU #2 1 ANHO #1 1 4 NURTURING 2-5
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Appendix 8.2.1a. Session notes PIJ
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#5 9.12. Disc OK Bekymring for frem
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#7 14.1 Disc: kun de første 10’
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egge to. Ah! Ingen kamp, så. Sving
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#3 13.11, Disc OK #4 26/11 Disc OK
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#6 3.1.03 Disc OK #7 14.1 Has felt
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#9 20.02. Disc OK #10 5.3. Disc OK
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Appendix 8.2.2a Session notes INLA
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#5 3.1.03 Disc OK #6 15.1. Disc OK
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#8 24.02. Disc OK #9 17.03 Til US b
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Appendix 8.2.2b Session notes INLA
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#5 3.1.03 Disc OK #6 15.1. Review o
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#8 24.02. Disc OK Control examinati
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FOCUS: Finding a way out... a door.
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#3 13.11. Disc OK #4 21.11 Disc: ku
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#7 19.12. Dis OK #8 30.1. Ingen opt
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Appendix 8.2.4 Session notes ANHO (
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Disc OK #6 7.1.03 Ingen optagels e
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# 10 31.03 Disc OK hul igennem. For
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OK #4 3.12 Disc OK #5 19.12. Disc O
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Disc OK #10 17.03. Disc OK Andre ha
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#3 19.11 Disc OK #4 28.11. Disc OK
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Disc OK #9 11.3. Disc OK Lang snak
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557
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Appendix 7.4 MINI-WORKSHOP - RESEAR
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Appendix 8.5 Brahms Score + Imagery
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• The movement is basically suppo
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Appendix 8.7 Bach: Komm süsser Tod
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Appendix 8.9 Analysis of selected m
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Element Brahms: Violin concerto - s
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Appendix 9.1 Types of clinical rele
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Appendix 9.2 Grocke’s Categories
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2. The relevance of the listening s
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directing the will” (p. 5). A who
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Reviewing the sub-questions, the wo
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Works Vol. IV, p. 7. The so-called
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ased on communication theory or cul
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In this study, I have used the thir
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24. The framework for the qualitati
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English translation of the intervie
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Dissertation - World Federation of Music Therapy

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