Dissertation - World Federation of Music Therapy

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ESA can be considered a qualitative enrichment of the quantitative ’sequential analysis’. The focus of interest is ”the dynamic aspects of phenomena, such as interactions between or among people or the unfolding of folk tales and other stories. The objective is to discover the structure of these processes, i.e., the ’rules’ that govern the sequence of interactions or events. Quantitative researchers use statistics like transitional probability or time-series analysis to discover regularities in the sequence of events. Qualitative researchers are more interested in the conceptual logic of event structures, i.e., in models’ that show the relationships among events. David Heise calls the logical structures ’production grammars’ (1988, p.187), since they are a set of rules. A production grammar is expressed either as a list of relations among events or depicted in a diagram” (Tesch 1990, p. 64, italics added by me). Tesch distinguishes between structural analysis and interpretational analysis, and ESA belongs to the first group. Even if ESA is not defined by Tesch as a ’narrative method’ it is obvious that ESA is well suited for the analysis of clinical events like BMGIM sessions. ESA has been used by Grocke (1999) in her study of ”Pivotal Moments in GIM”, and by Marr (2000) to analyse music and imagery sequences of four participants ’travelling’ to the music program Grieving (Keiser 1986). ESA was applied ”to discover how the temporal music sequence, and specific musical elements, influenced imagery processes and development” (Marr 2000, p. iii). In this analysis I use the same graphic table model as Marr, correlating musical episodes (based on the phenomenological description and the SMMA analysis) with the imagery sequences of the participants. The coding system is different from Marr’s. She made a distinction between temporal events (“imagery as it occurred in time, or as a chronological sequence”) and Emotional events (“images reflect emotional or feeling content, or the participant described or expressed emotion”). I find these codes too broad for my purpose, so in this analysis I use the code column for a registration of image modalities in order to study any eventual patterns in the distribution. ’Comments’ indicate important correlations between music and imagery, based on my own hermeneutic interpretations of the music. A necessary precondition for the ESA is a complete and very precise transcription of the imagery, as it unfolds in time. Only when this transcription is combined with the 256
score it is possible to see exactly when in a given episode an image occurs – and how it occurs or develops. (See Appendix 8.5 for an example page of this transcription). The event structure analysis of the second movement of Brahms’ Violin Concerto is set out in table 8.2 with the columns defined in the following way: Column 1: Episodes are corresponding with the phenomenological description and the Intensity profile Column 2: Coding of the image modalities (V=visual, A=auditory, S=sensory-kinaesthetic, O=olfactory, G=gustatory, E=emotions, M=Memories, R=reflections and thoughts, T=transpersonal, Ot=Other, e.g. body tension). Column 3: Cues referring to the phenomenological description and the Intensity profile Columns 4-8: Imagery of six participants (1,1=First session, first music selection). ANHO and SAAA says very little, and so they share a column (ANHO in italics; SAAA in bold) Column 9: Hermeneutic interpretations of music and image potential. 257
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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
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References to examples in the BMGIM
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“Sublime music tells in its own w
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4. Methodology Following on from ch
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trained in Aalborg is still indigen
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3) The study has its starting point
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material or intentional phenomenon,
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can also be applied in multiple met
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Table 4. 1 Basic information on the
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• The preliminary conversation (a
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One week before project start all p
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Participants score each item on a 4
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c) Audio recordings (mini-disc) of
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• Specification (1. Sensitizing c
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The imagery of the six participants
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5. Results of the quantitative inve
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The mean score of the group in depr
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Table 5. 2 Effect sizes measured at
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Figure 5. 5 QLQ-C30: Mean scores of
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These results are variable, and onl
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Statistical analysis of QLQ-C30 res
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Figure 5. 9 SOC Mean scores from th
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Figure 5. 11 SOC: Pre-test, post-te
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Results - inferential statistics an
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The results support hypothesis ten.
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generalised further, was evidently
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6. Results from the qualitative inv
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Potential of GIM in other phases of
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coding, where the categories are in
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PIJØ: It has been very hard for me
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how should it be, should there be m
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changing. Participants described ho
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IMPROVED UNDERSTANDING OF SELF (NEW
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elated subcategories. Using specifi
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D. In a few sessions the therapists
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B1 Metaphorical investigations of t
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imaging. This becomes even clearer
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odily or meditative states. In cont
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7. Two case studies. A mimetic anal
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The two cases will be presented sep
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In fig. 7.1 the therapist has given
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the healing process and was a contr
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say: ’We don’t want it to work
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Level 3 Configuration is the core o
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Trials and Tasks Observes a grey ar
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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
Page 225 and 226: eflections on the predominance of e
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Page 229 and 230: childish, playful.” From an initi
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Page 233 and 234: Figure 7. 4 INLAs QLQ-C30 scores, i
Page 235 and 236: • the courage to confront dangers
Page 237 and 238: e observed, also in this axis, that
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Page 241 and 242: Table 7. 7 A grounded theory model
Page 243 and 244: episodes dominated by (inner) body
Page 245 and 246: 8. Analysis of music and imagery Th
Page 247 and 248: 8.1.1 Qualitative music research In
Page 249 and 250: This means that: Description is nev
Page 251 and 252: methods intended for analysis of (p
Page 253 and 254: following preparations: 1. Informat
Page 255 and 256: An Eclectic Approach to the analysi
Page 257 and 258: was used to investigate potential c
Page 259 and 260: Figure 8. 2 The dynamic profile of
Page 261 and 262: there was dialogue between solo ins
Page 263 and 264: were used partially (in 35 sessions
Page 265 and 266: Following the guidelines of HMA the
Page 267 and 268: Figure 8. 4 Intensity Profile of Br
Page 269 and 270: Figure 8. 5 The digitized waveform
Page 271: for assessment. In this project the
Page 275 and 276: B2 (46-51) V/E Ot B3 (52-55) E Ot V
Page 277 and 278: C2 (91-100) R R V/S V/E C3 (100-106
Page 279 and 280: The analysis of the unfolding image
Page 281 and 282: she only reports verbally that she
Page 283 and 284: • The complete narrative, based o
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Page 287 and 288: Figure 8. 6 Intensity profile - Bac
Page 289 and 290: This profile - or map of the’ inn
Page 291 and 292: Table 8. 4 Event structure analysis
Page 293 and 294: A5+t (14-16) B1+t (17-21) R S S R V
Page 295 and 296: B5 (37-39) B6 (39-41) answered tona
Page 297 and 298: V and irritated, not R wanting to s
Page 299 and 300: ANHO: The client still has difficul
Page 301 and 302: For the five of the six participant
Page 303 and 304: • Analysis of the image potential
Page 305 and 306: Text and music with accompaniment w
Page 307 and 308: section of music that visually illu
Page 309 and 310: intensity increasing feature is the
Page 311 and 312: A1 (1-10) R/V E S/E B1 (11-21) R/V
Page 313 and 314: B1 Mein Jesu A1 (1-6) V R E R S V A
Page 315 and 316: B B3 (after music) E E S side? (tea
Page 317 and 318: Jesu evoked images related to death
Page 319 and 320: String Quartet as the most challeng
Page 321 and 322: 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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