Dissertation - World Federation of Music Therapy

the imagery: the client reacts with a delay of a few seconds. (This can only be
documented when the client is continuously reporting his/her experience). Music
introducing higher intensity and tension is reflected in the imagery in many ways: a
change of perspective is seen, manifest action may replace hesitation or stuckness,
emotional outlets may follow reflections, sudden insight (“‘messages“) are
experienced, or the imagery develops in a new direction.
Musical form and narrative form are closely related. A ternary form in the music may
impose a ternary narrative or dramatic structure on the imagery. Simplicity and
complexity are complementary in the development of music and imagery.
Simple musical forms with many repetitions tend to stabilize the imagery, inviting to
extended descriptions and differentiation of qualities.
Complex or developmental forms with many changes or transformations tend to
impose a dynamic process on the imagery.
Table 8. 9 A grounded theory of how specific musical elements and parameters
influenced the imagery
Helen Bonny developed the ‘affective contour’ model to represent the course of
intensity in a GIM music program in a clear graphic form. In this study I have used
the ‘intensity profile’ to give an easily understood graphic representation of the course
of intensity in a specific music selection. It is obvious that supportive, mixed and
challenging music have very different profiles. The build-up and release of tension in
challenging and mixed music, or the absence of tension building in supporting music,
is the main feature of a profile. The intensity of a given music selection influences
the imagery in many ways, and increasing or decreasing intensity of the music is
immediately reflected in the imagery. The musical elements and parameters with the
greatest influence on intensity, and thus on the imagery, were mood, form,
volume/dynamic change and melodic conciseness.
Summary
Chapter 8 documented how music influenced the imagery of the six participants in
many different ways. Through heuristic music analyses and event structure analyses
of selected music and imagery sequences it was demonstrated how the music
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