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Dissertation - World Federation of Music Therapy

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Bonny also considered the metaphoric aspects <strong>of</strong> music from the early years, as<br />

documented in the following quote:<br />

“The metaphor (image) comes and undresses as it sheds meaning, meaning<br />

within meaning. <strong>Music</strong> as co-therapist reveals, closes, entices, expands,<br />

proposes, lulls, demands, challenges, confuses, opens, salutes, etc. The<br />

metaphor in response to music opens into the emotion. Sometimes the<br />

metaphor is not present. The emotion may be the metaphor, or emotion comes<br />

before metaphor (or vice-versa).” (Bonny n.d.) 73<br />

In the quote Bonny uses metaphor and image as synonyms. I have not found any<br />

elaborations <strong>of</strong> the metaphor theme in Bonny’s published writings. However, I think<br />

that the present study provides empirical evidence to the original ideas proposed by<br />

Bonny more than fifteen years ago.<br />

9.5 Clinical applicability <strong>of</strong> the findings<br />

Clinical BMGIM practice has included people confronted with life-threatening<br />

diseases from the very beginning <strong>of</strong> the model (Bonny 2002), as documented in<br />

chapter 2 and by the literature database. The classical BMGIM session format was<br />

used in this study, as it was in the two identified clinical efficacy studies with cancer<br />

survivors (Burns 1999, 2001; Clark and McKinney 2003). The findings <strong>of</strong> this study<br />

support that ten individual BMGIM sessions in the standard format are sufficient to<br />

improve mood and enhance quality <strong>of</strong> life in cancer survivors. However, clinical<br />

relevance <strong>of</strong> the research findings may be discussed at several levels. 74 Descriptive<br />

and inferential statistics have been used to provide evidence <strong>of</strong> the effect <strong>of</strong> BMGIM<br />

on anxiety and quality <strong>of</strong> life in the participants. Given the lack <strong>of</strong> a control group the<br />

clinical relevance can only be indicated quantitatively, however the qualitative data<br />

73 Handwritten note dated N.Y. 12-1-89, in The Bonny Archives folder ”Misc. Notes – GIM”<br />

74 Section 9.5 is based on a paper presented at a public symposium on ”The clinical relevance <strong>of</strong> music<br />

therapy research” at Aalborg University May 2004. In the paper I discussed ”Types <strong>of</strong> relevance” and<br />

suggested a distinction at four levels (illustrated with examples from Ph.D. research projects at Aalborg<br />

University): 1. Clinical issues addressed in or by the research, providing evidence; 2. Clinical issues<br />

derived from the research, 3. Direct clinical effects; 4. Communication <strong>of</strong> new evidence. See Appendix<br />

9.1 for a presentation <strong>of</strong> these levels. Level 4 will not be addressed in section 8.5, even if there has<br />

already been extensive communication <strong>of</strong> results in media, pr<strong>of</strong>essional groups and at national and<br />

international conferences.<br />

356

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