Dissertation - World Federation of Music Therapy

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Komm süsser… (2 nd time, INLA A B A1 R V E V E was black... I would like to hear more of this kind of music. Would you like to hear it again? Yes. Then allow yourself to focus on whatever is useful for you in this music. This is serenity. I wrap myself up in a membrane, like a pupa. It’s grey. Nothing I need to do. Huge wings. Heavy and moving in the slow tempo of the music. I only see the wings, not the bird. How is that for you? It’s fine, that the wings are grey, not pink or gold. chord:) The angel and the little girl are there. They will also follow me into death. Can you allow yourself to let it be as it is, right now?
B1 Mein Jesu A1 (1-6) V R E R S V A2 (1-6 rep.) V R E B1 (7-14) V/E E/A S Strings only. They sound soft and muted. Cello plays the melody. The bowing is continuous. Violins take over the melody, one octave higher. Celli take over the melody again. The chromatic quavers end with the first I linger with them. A golden sun rises over the horizon – the wings fly in that direction. Lingering – that’s what I need and want. Now I feel sadness. Allow yourself to feel that. Where do you feel the sadness? In my head. I see an elephant. It is huge and tired, moves heavily. The battle is lost. What battle? The battle about managing everything. That’s why it is sad. - I am the elephant. It I want Death to be my friend. Is anything preventing you from that? I don’t think so. Is Death nearby? Yes. How does it look? It is light and mild - like the angel: It says: ’Be not afraid!’ What happens in your neck? Something is pressing (she yearns, massages her jaws, tears) Can you feel what the press is about? Allow yourself to feel the feelings. A cemetery. Graves and stones. It reminds me of death. I don’t want to go into that. The body is tense overall. The music evokes visual imagery and emotional reactions. Mood: 2 - sadness, sorrow, loneliness. Opening towards a meeting or a vast space. Expansion and exploration – dialogue is possible. Minor mood The sad and sombre mood from the previous song is deepened by the soft and earnest voice of the celli. The initial statement is confirmed by the violins one octave higher. The tension builds up through the harmonic underpinning of the chromatic melodic line. The breathing points allow the
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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
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She knew that her own scores had no
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In fig. 7.3 the therapist has given
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eflections on the predominance of e
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and I might as well accept it. Roge
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childish, playful.” From an initi
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solution through a message, and in
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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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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
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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
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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
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Page 301 and 302: For the five of the six participant
Page 303 and 304: • Analysis of the image potential
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Page 311: A1 (1-10) R/V E S/E B1 (11-21) R/V
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Page 321 and 322: Figure 8. 12 Distribution of the th
Page 323 and 324: Table 8. 7 A grounded theory model
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Page 327 and 328: 9. Discussion “..Where the mind i
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Page 331 and 332: 9.1.3 The role of music and imagery
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Page 337 and 338: As these findings are not consisten
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Page 343 and 344: and why they are comprehensible and
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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
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Page 359 and 360: The three categories illustrated in
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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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