Dissertation - World Federation of Music Therapy

More documents

Recommendations

Info

of intensity and tension (as indicated in the Intensity Profiles) is reflected in the imagery. The image potential of a music selection will become manifest as related to the individual focus and ‚travel style’ of the client. In other words: This identifies the role and different functions of the music as ‘Co- Therapist’. 8.3.2 Analysis II: Content analysis of selected music and episodes The analyses in section 8.3.1 indicated that the relationship between music and imagery is a more general feature on an abstract formal or morphological level. Narrative matrices found in the configuration of the metaphors had a certain correspondence to formal matrices found in the music. Another issue related to the research question is more concerned with content than with form, namely whether it is possible to identify similarities of image content between participants to specific music selections? ‘Similarity of image content’ could be within any of the image realms: visual, auditory, emotional etc. – Based on App. 8.1 I have examined the recordings and transcripts related to the 13 music selections that four or more of the six participants were noted to use on one or more occasions. This was done in order to determine whether data that include music selections experienced by four or more participants indicated a similarity of content between participants, as based on the imagery reports in the session logs. I have identified two music selections that invite such an analysis. The two Bach chorales included in the program Mostly Bach (cuts 2 and 3) seem to evoke imagery related to loss, death and dying. In the following analysis I will investigate how the imagery of four participants (WIFU, INLA, SAAA, ANHO) may be related to properties of the music. The analysis comprises: 286 • Music analysis of the two chorales, with special attention on a) the relationship between musical expression and text in Bach’s original compositions, b) the properties of the orchestral arrangements by Leopold Stokowski, used in the sessions. This analysis includes data from a workshop with students in GIM level three training.
• Analysis of the image potential of the two chorales. This analysis also includes data from the workshop mentioned above. • Intensity profiles of the two pieces. • Event structure analysis: a presentation of the imagery of four clients correlated with the episodes identified in the music analysis. • A summary and discussion of how music and imagery may be related on a content level. 8.3.2.1 Music analysis Bach composed and arranged a variety of chorales, hymns and songs based on Lutheran lyrics. Komm, süsser Tod (BWV 478) and Mein Jesu! was vor Seelenweh (BWV 487) both belong to the collection of Geistliche Lieder (Sacred Songs or Hymns) known as Schemellis Gesangbuch (Schemelli’s Songbook) published in 61 Leipzig 1736 . The author of Komm, süsser Tod is unknown, while Schemelli is the author of Mein Jesu. A modern recording based on principles of historical performance was made in 2000 by the tenor Christoph Pregardien and the bass Klaus Mertens accompanied by Jaap ter Linden (cello) and Ton Koopman (chamber organ). This recording (Teldec 8573-81145-2) is probably close to the sound and performance style Bach had in mind when he composed the music. The orchestral arrangements by Stokowski, used in the GIM music programs, are very different. There is no vocal part, and the arrangements for string orchestra or full orchestra belong to the romantic tradition of baroque interpretation initiated by Mendelssohn and brought to a climax in Mahler’s arrangements of Bach scores. The vocal line is distributed between instrument groups, the tempo is very slow (durations of the two Koopman recordings are 3’05 and 2’42, while the durations of the Stokowski recordings are 5’50 and 5’03), and the Stokowski performance style has very distinct non-baroque features in 61 G.C. Schemelli: Musicalisches Gesangbuch (Leipzig 1736) had the following complete title (English translation): Musical Hymnbook containing 954 spiritual hymns and arias, both old and new, with well-wrought melodies in treble and bass. J.S. Bach composed and arranged music to 69 of the hymns. For each hymn there was a melody and a figured bass. According to Marx (sleeve notes of the Koopman recording) Bach only composed 3 of the 69 melodies, among them Komm, süsser Tod. The remaining 66 melodies were taken from other sources, and Bach made only minor revisions and amendments. Schemellis hymnbook is a conscious mixture of well known and traditional orthodox Lutheran hymns and modern Pietist hymns. There is also an important musical difference between the hymn styles. While the orthodox hymns were mainly diatonic and meant for congregational singing the new Pietist hyms were set to a triad based music, with big melodic leaps, and with auxiliary and passing notes. This expressive, aria-like style was more suitable for the domestic devotional practices of Pietism. 287
Page 1:
THE BONNY METHOD OF GUIDED IMAGERY
Page 4 and 5:
Ph.D. student’ with me the last t
Page 6 and 7:
vi 4. METHODOLOGY..................
Page 8 and 9:
viii
Page 10 and 11:
TABLE 8. 4 EVENT STRUCTURE ANALYSIS
Page 12 and 13:
xii
Page 14 and 15:
xiv
Page 16 and 17:
xvi
Page 18 and 19:
As you will see there are many comm
Page 20 and 21:
The participants in this study use
Page 22 and 23:
Music in medicine The terminology o
Page 24 and 25:
Music in medicine vs. Music therapy
Page 26 and 27:
more likely a reaction to a cancer
Page 28 and 29:
melanoma Boesen (2002) reviewed the
Page 30 and 31:
test showed that there was less ten
Page 32 and 33:
More general overviews of how music
Page 34 and 35:
Table 2. 1 Literature on BMGIM and
Page 36 and 37:
Populations include non-clinical/he
Page 38 and 39:
McKinney 1990 University students M
Page 40 and 41:
Table 2.2 shows that most of the st
Page 42 and 43:
Facilitating peak experience Provin
Page 44 and 45:
express and work on their experienc
Page 46 and 47:
2) locus of control (inner mastery
Page 48 and 49:
in contrast to Burns’ study, the
Page 50 and 51:
In Denmark two music therapists hav
Page 53 and 54:
3 Theoretical background 3.1 Introd
Page 55 and 56:
metaphor influenced each other in o
Page 57 and 58:
is closely related to the body and
Page 59 and 60:
structures or patterns that “allo
Page 61 and 62:
explaining a phenomenon with other
Page 63 and 64:
Ricoeur agrees with Ernst Cassirer
Page 65 and 66:
“It appears as though certain fun
Page 67 and 68:
daily life myths and fairy tales ma
Page 69 and 70:
extent that it is organized after t
Page 71 and 72:
Table 3. 4 Three moments of mimesis
Page 73 and 74:
Thus, symbols and metaphors are the
Page 75 and 76:
4. Psychotherapy as humane care - r
Page 77 and 78:
I suggest the following working def
Page 79 and 80:
The scale of Klein et al. was not u
Page 81 and 82:
In a psychological perspective meta
Page 83 and 84:
3.5 Narratives in psychotherapy In
Page 85 and 86:
second category (analogous to ‘in
Page 87 and 88:
“There currently exist no consens
Page 89 and 90:
Table 3. 7 Mimesis 1-3 in narrative
Page 91 and 92:
3.6.1 Music as analogy A paper by D
Page 93 and 94:
Smeijsters has coined the double co
Page 95 and 96:
Table 3. 8 Musical elements interpr
Page 97 and 98:
function through its pre-existent s
Page 99 and 100:
end, motion and rest, tension and r
Page 101 and 102:
Lakoff and Johnson’s cognitive th
Page 103 and 104:
crying, or symbolized as falling ch
Page 105 and 106:
our analyses. For it is only by ope
Page 107 and 108:
Based on his study Jungaberle formu
Page 109 and 110:
and ending on dominant a - a new ro
Page 111 and 112:
cross is inevitable, and the music
Page 113 and 114:
is the instrumental Ground from Blo
Page 115 and 116:
therapists. Open and attentive list
Page 117 and 118:
closely related to basic human self
Page 119 and 120:
less elegant dance. My dance is a b
Page 121 and 122:
describes him or herself as ‘feel
Page 123 and 124:
asket and then lie down, tell about
Page 125 and 126:
Holocaust Shadow (Schulberg 1999),
Page 127 and 128:
Craftsmen are working The foundatio
Page 129 and 130:
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 and 182:
6. Results from the qualitative inv
Page 183 and 184:
Potential of GIM in other phases of
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
Page 203 and 204:
odily or meditative states. In cont
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
Page 211 and 212:
the healing process and was a contr
Page 213 and 214:
say: ’We don’t want it to work
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
Page 225 and 226:
eflections on the predominance of e
Page 227 and 228:
and I might as well accept it. Roge
Page 229 and 230:
childish, playful.” From an initi
Page 231 and 232:
solution through a message, and in
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
Page 239 and 240:
’story line’ and writes a story
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 and 272: for assessment. In this project the
Page 273 and 274: score it is possible to see exactly
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
Page 285 and 286: an experience further before finish
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: For the five of the six participant
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
Page 323 and 324: Table 8. 7 A grounded theory model
Page 325 and 326: the imagery: the client reacts with
Page 327 and 328: 9. Discussion “..Where the mind i
Page 329 and 330: possible to show a decrease in both
Page 331 and 332: 9.1.3 The role of music and imagery
Page 333 and 334: specific therapeutic influence in t
Page 335 and 336: or measurable influence on the part
Page 337 and 338: As these findings are not consisten
Page 339 and 340: adiotherapy treatment. These commen
Page 341 and 342: this study (the only exception bein
Page 343 and 344: and why they are comprehensible and
Page 345 and 346: was that core images did emerge and
Page 347 and 348: actually no alternative to “will
Page 349 and 350: 9.2.3.3 The proposed grounded theor
Page 351 and 352: This leads to the critical question
Page 353 and 354:
The proposed grounded theories cove
Page 355 and 356:
eautiful room with candles, flowers
Page 357 and 358:
eventual climaxes and peak points c
Page 359 and 360:
The three categories illustrated in
Page 361 and 362:
scores are influenced by my negativ
Page 363 and 364:
9.4 The development of new theoreti
Page 365 and 366:
9.4.2 Heuristic music analysis as c
Page 367 and 368:
client’s playing in improvisation
Page 369 and 370:
Anxiety and anger are very importan
Page 371 and 372:
Bonny found that the musical elemen
Page 373 and 374:
support and explain how BMGIM can b
Page 375 and 376:
9.6 Directions for future research
Page 377 and 378:
comparative analysis including a nu
Page 379 and 380:
music listening has been substantia
Page 381 and 382:
What elements are there that descri
Page 383 and 384:
1) Can ten BMGIM sessions improve t
Page 385 and 386:
After every session questionnaires
Page 387 and 388:
The analyses of metaphors and image
Page 389 and 390:
not be sufficient to saturate a sub
Page 391 and 392:
hvordan BMGIM kan have en positiv v
Page 393 and 394:
individuelle BMGIM-sessioner, som r
Page 395 and 396:
C30-scores viste stigninger i genne
Page 397 and 398:
• Heuristisk Musikanalyse (Brusci
Page 399 and 400:
som velegnet til psykosociale under
Page 401 and 402:
REFERENCES (2002). Appendix B: Musi
Page 403 and 404:
Ansdell, G. (2001). Musicology: mis
Page 405 and 406:
Bonde, L. O. (2002). Introduction t
Page 407 and 408:
Bonny, H. L. and L. K. Marids (2001
Page 409 and 410:
Clark, M. (1998). The Bonny Method
Page 411 and 412:
Ferguson, D. N. (1960). Music as Me
Page 413 and 414:
Hilliard, R. E. (2002). The effects
Page 415 and 416:
Keiser, L. H. (1986). Conscious Lis
Page 417 and 418:
Mahns, W. (1998). Symbolbildungen i
Page 419 and 420:
Munro, S. (1993). "Music therapy in
Page 421 and 422:
Robbins, C. and C. Robbins (1991).
Page 423 and 424:
Short, A. E. (1997). "Jungian arche
Page 425 and 426:
Tüpker, R. (1988). Ich singe was i
Page 427 and 428:
Zachariae, B. (1997). "Forestilling
Page 429 and 430:
LIST OF APPENDICES LIST OF APPENDIC
Page 431 and 432:
Appendix 4.1 Data on six participan
Page 433 and 434:
ESMA: 65 years old, married, three
Page 435 and 436:
Appendix 4.2 Patientinformation (in
Page 437 and 438:
Appendix 4.3 The HADS questionnaire
Page 439 and 440:
Spørgs - mål nr. Vælg ét svar f
Page 441 and 442:
Appendix 4.4 The EORTC QLQ-C30 ques
Page 443 and 444:
427
Page 445 and 446:
Fig. 5.14 ESMAs QLQ profile 120 100
Page 447 and 448:
Fig. 5.18 WIFUs QLQ profile 120 100
Page 449 and 450:
Appendix 6.2 Illustration of the de
Page 451 and 452:
435
Page 453 and 454:
henføre dem entydigt til noget som
Page 455 and 456:
Ja. Hvert eneste gang har det være
Page 457 and 458:
Det er meget rigtigt. Jeg har jo ik
Page 459 and 460:
omgangshøjde endnu. Det er 2-3 år
Page 461 and 462:
Ham ville jeg godt hilsen velkommen
Page 463 and 464:
them out. Questionnaires like these
Page 465 and 466:
it is the music! No, it is not only
Page 467 and 468:
Maybe it influences me so strongly
Page 469 and 470:
the music should be different. (…
Page 471 and 472:
[Are there other images that you…
Page 473 and 474:
Ja det tror jeg. Hvor er det lige j
Page 475 and 476:
drømme jo også - de kommer også
Page 477 and 478:
De hører fuldt ud sammen. Hvis man
Page 479 and 480:
[The questionnaires indicate that y
Page 481 and 482:
guess it has been working in the su
Page 483 and 484:
them, many stairs and things like t
Page 485 and 486:
Appendix 6.4.3 Interview med ESMA 9
Page 487 and 488:
været mere eller mindre på afstan
Page 489 and 490:
skørt, for det er virkelig svært
Page 491 and 492:
den der kæmpeindsats, som jeg har
Page 493 and 494:
emærker at de er der - de skal bek
Page 495 and 496:
jeg ville nødig undvære musikken
Page 497 and 498:
[Folkene bag spørgeskemaerne hævd
Page 499 and 500:
Nej desværre ikke. Altså sådan m
Page 501 and 502:
Nej ikke nødtvungent! ... Men det
Page 503 and 504:
Ja, og jeg føler, at jeg ’fylder
Page 505 and 506:
Der er lissom om jeg er på den and
Page 507 and 508:
meget, og også at give fred; men o
Page 509 and 510:
sådan det er. (Jeg sider og prøve
Page 511 and 512:
[Men hver anden uge er meget passen
Page 513 and 514:
andet sted at jeg har haft meget ti
Page 515 and 516:
f.eks. ’Du er blevet meget mere a
Page 517 and 518:
Og så får jeg lyst til at lave no
Page 519 and 520:
der har arbejdet med de her ting? H
Page 521 and 522:
Berlioz: 4 X PIJØ: #3,2 7 1 L’en
Page 523 and 524:
Marcello: Oboe Concertor, 2nd movem
Page 525 and 526:
WIFU #2 1 ANHO #1 1 4 NURTURING 2-5
Page 527 and 528:
Appendix 8.2.1a. Session notes PIJ
Page 529 and 530:
#5 9.12. Disc OK Bekymring for frem
Page 531 and 532:
#7 14.1 Disc: kun de første 10’
Page 533 and 534:
egge to. Ah! Ingen kamp, så. Sving
Page 535 and 536:
#3 13.11, Disc OK #4 26/11 Disc OK
Page 537 and 538:
#6 3.1.03 Disc OK #7 14.1 Has felt
Page 539 and 540:
#9 20.02. Disc OK #10 5.3. Disc OK
Page 541 and 542:
Appendix 8.2.2a Session notes INLA
Page 543 and 544:
#5 3.1.03 Disc OK #6 15.1. Disc OK
Page 545 and 546:
#8 24.02. Disc OK #9 17.03 Til US b
Page 547 and 548:
Appendix 8.2.2b Session notes INLA
Page 549 and 550:
#5 3.1.03 Disc OK #6 15.1. Review o
Page 551 and 552:
#8 24.02. Disc OK Control examinati
Page 553 and 554:
FOCUS: Finding a way out... a door.
Page 555 and 556:
#3 13.11. Disc OK #4 21.11 Disc: ku
Page 557 and 558:
#7 19.12. Dis OK #8 30.1. Ingen opt
Page 559 and 560:
Appendix 8.2.4 Session notes ANHO (
Page 561 and 562:
Disc OK #6 7.1.03 Ingen optagels e
Page 563 and 564:
# 10 31.03 Disc OK hul igennem. For
Page 565 and 566:
OK #4 3.12 Disc OK #5 19.12. Disc O
Page 567 and 568:
Disc OK #10 17.03. Disc OK Andre ha
Page 569 and 570:
#3 19.11 Disc OK #4 28.11. Disc OK
Page 571 and 572:
Disc OK #9 11.3. Disc OK Lang snak
Page 573 and 574:
557
Page 575 and 576:
Appendix 7.4 MINI-WORKSHOP - RESEAR
Page 577 and 578:
Appendix 8.5 Brahms Score + Imagery
Page 579 and 580:
• The movement is basically suppo
Page 581 and 582:
Appendix 8.7 Bach: Komm süsser Tod
Page 583 and 584:
Appendix 8.9 Analysis of selected m
Page 585 and 586:
Element Brahms: Violin concerto - s
Page 587 and 588:
Page 589 and 590:
Page 591 and 592:
Page 593 and 594:
Appendix 9.1 Types of clinical rele
Page 595 and 596:
Appendix 9.2 Grocke’s Categories
Page 597 and 598:
2. The relevance of the listening s
Page 599 and 600:
directing the will” (p. 5). A who
Page 601 and 602:
Reviewing the sub-questions, the wo
Page 603 and 604:
Works Vol. IV, p. 7. The so-called
Page 605 and 606:
ased on communication theory or cul
Page 607 and 608:
In this study, I have used the thir
Page 609 and 610:
24. The framework for the qualitati
Page 611:
English translation of the intervie
show all

Dissertation - World Federation of Music Therapy

Create successful ePaper yourself

Delete template?

Save as template?