Dissertation - World Federation of Music Therapy

methods intended for analysis of (primarily) improvisations in active music therapy,
and a more extensive overview of methods to analyse (primarily) composed music
used in receptive music therapy.
8.1.2 Qualitative methods focusing on improvisations in active music therapy.
Qualitative assessment procedures have been developed in several clinical areas:
Loewy (2000) developed a model for music psychotherapy assessment, with 13 areas
of inquiry: looking at the awareness of the self, others and of the moment, thematic
expression, listening and performing, collaboration between client and therapist,
degrees of concentration, range of affect, investment and motivation, the use of
structure, integration, self esteem, risk taking and independence. Hintz (2000)
developed an assessment procedure for geriatric patients, involving scoring and
addressing five areas: expressive musical skills, receptive musical skills,
behavioural/psychosocial skills, motor skills, and cognitive memory skills. Scheiby
(2002) described an assessment procedure, in which the first step involves data within
the following musical parameters: rhythm, melody, harmony, tempo, phrasing,
themes, dynamics and choice/use of instruments (p. 130f). In the second step the
following categories are identified and described, based on musical and verbal
interactions: affective, relational, cognitive and developmental information, music
released fantasies and images, transpersonal, aesthetic, kinaesthetic, creativity and
energetic information. Aldridge (1996, chapter 9) discussed how assessment of
musical improvisations may be a supplement to mental state examinations in area
where those examinations are lacking, and he presents two tables comparing features
of medical and musical elements of assessment, focusing on “intentionality, attention
to, concentration on and perseverance with the task in hand are important features of
producing musical improvisations and susceptible to be heard in the musical playing.”
(p. 204)
Bruscia (1987, 1994, 2002) in his Improvisation Assessment Profiles (IAP) developed
the most systematic and elaborated music assessment procedure. The analogy
between the elements of music and the existential themes and qualities of human
existence is a core construction in Bruscia’s IAPs. When developing this method for
description and interpretation of clinical improvisations Bruscia looked for concepts
that would give the 6 "profiles" – each being a specific listening perspective or a way
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