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Dissertation - World Federation of Music Therapy

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selections in the sounding questionnaire encompassed an optimum mix <strong>of</strong> qualities<br />

within the parameters (e.g. jazz selections with differences in tempo, mood, power).<br />

Selections were rated by 519 participants aged 14-80+ on two Likert scales – one on<br />

familiarity (“How well do you know this kind <strong>of</strong> music?”), the other on preference<br />

(“How do you like the music”). The result <strong>of</strong> the study revealed, that only two<br />

parameters had significant influence on preference: Power (intensity); and Rhythm vs.<br />

Melody/Harmony. Performance and Text may have a marginal influence, while<br />

Mood, Tempo and Style has no influence on preference.<br />

8.1.4 Qualitative methods used in GIM<br />

In the years 1973-1989 Helen Bonny developed – or ”composed” – 18 GIM music<br />

programs (Bruscia and Grocke 2002, app. B,; Grocke 2002a, 2002b; see also the<br />

database GIM <strong>Music</strong> Programs on the cd-rom). In the so-called “‘Monograph #2“<br />

Bonny (1978) described the therapeutic meaning <strong>of</strong> the specific musical elements and<br />

designed a music-centered system <strong>of</strong> analyzing the music programs. Bonny identified<br />

the following characteristic features <strong>of</strong> the music used in GIM sessions:<br />

”1) the music is a catalyst for tension and release<br />

2) the music is a container for the GIM experience<br />

3) the music stimulates the flow and movement <strong>of</strong> the imagery<br />

4) the music <strong>of</strong>fers variability in the stimulus<br />

5) the music conveys mood<br />

6) the music is <strong>of</strong> the Western tradition <strong>of</strong> classical music” (see Grocke 1999, p. 149)<br />

The features <strong>of</strong> tension and release, variability and mood are examined together with<br />

the primary musical elements <strong>of</strong> pitch, rhythm/tempo, timbre and melodic line for<br />

each music selection and for the program as a whole. These elements are primary,<br />

because they carry specific metaphoric implications for the listener, e.g. changing<br />

timbres may represent particular characters in the imagery experience. In the<br />

monograph Bonny also presented her idea <strong>of</strong> the “‘Inner morphology“ <strong>of</strong> a music<br />

program in graphic ‚affective-intensity pr<strong>of</strong>iles’ <strong>of</strong> selected programs. An example is<br />

given below: The music progam Positive Affect.<br />

242

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