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Dissertation - World Federation of Music Therapy

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• credibility and sincerity<br />

• precision and shading<br />

• organic yet complex features<br />

A parallel characterization could be made <strong>of</strong> the main (dialogue) theme <strong>of</strong> the Bach<br />

Concerto for Two Violins, 2nd movement or specific elements <strong>of</strong> other music<br />

selections. They would all have a specific metaphoric pr<strong>of</strong>ile. – In many <strong>of</strong> the music<br />

listening periods analyzed in this study a dialogue is born between the musical entity<br />

and the client. The specific outcome <strong>of</strong> such a dialogue cannot be predicted, but the<br />

analyses show how the careful choice <strong>of</strong> music selections matching the participant’s<br />

needs and level <strong>of</strong> experience may increase the options. Thus, the Heuristic <strong>Music</strong><br />

Analysis gives access to the field <strong>of</strong> existential and therapeutical meaning in music in<br />

a unique way.<br />

9.4.2.1 The intensity pr<strong>of</strong>ile<br />

The “Intensity pr<strong>of</strong>ile” (IP) was proposed in section 8.3.2.4 as an easy to grasp<br />

graphic representation <strong>of</strong> experiential features <strong>of</strong> a specific piece <strong>of</strong> music. The<br />

pr<strong>of</strong>iles are meant to show especially how musical and psychological tension is built<br />

and released and to inform the therapist whether there are experiential plateaus and<br />

climaxes or peaks in the music. The IP was inspired by Helen Bonny’s “Affective<br />

(program) contours” which function as graphic representations <strong>of</strong> the intensity<br />

pr<strong>of</strong>iles <strong>of</strong> complete music programs. It was shown how the three categories <strong>of</strong> music,<br />

“supportive”, “challenging” and “mixed”, had their specific typical intensity pr<strong>of</strong>ile<br />

(fig. 9.1).<br />

In contemporary music psychology there is no consensus <strong>of</strong> what “intensity” in the<br />

music experience is, how it can be measured or represented in graphs. The differences<br />

between the exact, digital measures <strong>of</strong> what Lem calls the “Digitized wave-form” and<br />

the IP was shown and discussed in relation to the analyzed movements <strong>of</strong> Brahms and<br />

Bach. It is difficult to draw and validate an IP in an intersubjective perspective, yet I<br />

am sure that music therapy researchers and clinicians need a tool <strong>of</strong> this type. The IP<br />

can also be used as an effective tool to represent the intensity <strong>of</strong> therapist’s and<br />

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