Dissertation - World Federation of Music Therapy

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Denzin, N. K. and Y. S. Lincoln, Eds. (1998). Strategies of Qualitative Inquiry. Thousand Oaks, Sage. Desoille, R. (1966). "The directed daydream." Psychosynthesis Research Foundation 8: 1-33. Deutsch, D. (1982). The Psychology of Music. New York, Academic Press. Dileo, C. (1999). Introduction to "Music Therapy and Medicine": Definitions, Theoretical Orientations and Levels of Practice. Music Therapy & Medicine: Theoretical and Clinical Applications. C. Dileo. Silver Spring, MD, American Music Therapy Association: 3-10. Dileo, C., Ed. (1999). Music Therapy & Medicine: Theoretical and Clinical Applications. Silver Spring, MD, Amercan Music Therapy Association. Dileo, C. and J. Bradt (1999). Entrainment, Resonance, and Pain-Related Suffering. Music Therapy & Medicine: Theoretical and Clinical Applications. C. Dileo. Silver Spring, MD, American Music Therapy Association: 181-188. Dutcher, J. (1992). "Tape Analysis: Creativity I." Journal of the Association for Music and Imagery 3: 107-118. Edelman, S. and A. D. Kidman (1997). "Mind and Cancer: Is There a Relationship? – A Review of Evidence." Australian Psychologist 32(2): 79-85. Edwards, J. (1999). "Considering the Paradigmatic Frame: Social Science Research Approaches Relevant to Research in Music Therapy." The Arts in Psychotherapy 26(2): 73-80. Edwards, J. (2002). "Using the Evidence Based Medicine Framework to Support Music Therapy Posts in Healthcare Settings." British Journal of Music Therapy 16(1): 29-34. Elefant, C. (2001). Speechless yet communicative: revealing the person behind the disablity of Rett syndrome through clinical research on songs in music therapy. Music Therapy in Europe. The 5th European Music Therapy Congress. G. d. Franco, E. Ruud, T. Wigram and D. Aldridge. Roma, ISMEZ: 113-128. Elsass, P. (1992). Sundhedspsykologi. København, Gyldendal. Erdonmez, D. (1992). "Clinical Applications of Guided Imagery and Music." The Australian Journal of Music Therapy 3: 37-44. Erdonmez, D. (1993). Guided Imagery and Music, and the Proces of Individuation in Two Women at Mid-Life. VII World Conference in Music herapy, Vitoria- Gasteiz Spain, Disc. Erdonmez, D. (1994). A Journey of Transition with Guided Imagery and Music. International Conference Music Therapy in Palliative Care Oxford 1994, Oxfor GB, Sobell Publications. Erdonmez, D. (1998). Analysing the Music which Underpins Pivotal Moments in Guided Imagery and Music (GIM). 4th European Music Therapy Congress, Leuwen, Belgium, David Aldridge (ed.): Music Therapy Info Vol. II (CD- Rom) Universität Witten-Herdecke 1999. Erdonmez, D. (1999). The Music which Underpins Pivotal Moments in Guided Imagery and Music. Clinical Applications of Music Therapy in Psychiatry. T. Wigram and J. d. Backer. London, Jessica Kingsley: 197-210. Evans, D. (2002). "The effectiveness of music as an intervention for hospital patients: a systematic review." J Adv Nurs 37(1): 8-18. Fayers, P., S. Weeden, et al. (1998). EORTC QLQ-C30 Reference Values. Brussels, EORTC Quality of Life Study Group. 394
Ferguson, D. N. (1960). Music as Metaphor. The Elements of Expression. Minneapolis, Lund Press. Ferrara, L. (1984). "Phenomenology as a tool for musical analysis." The Musical Quarterly 70(3): 355-373. Ferrara, L. (1991). Philosophy and the Analysis of Music. Bridges to Musical Sound, Form, and Reference. New York, Greenwood Press. Fincher, S. (1991). Creating Mandalas. Boston, Shambhala. Forinash, M. (1992). "A Phenomenological Analysis of Nordoff-Robbins Approach to Music Therapy: The Lived Experience of Clinical Improvisation." Music Therapy 11(1): 120-141. Forinash, M. and D. Gonzales (1989). "A phenomenological perspective of music therapy." Music Therapy 8(1): 35-46. Franco, G. d., E. Ruud, et al., Eds. (2001). Music Therapy in Europe. The 5th European Music Therapy Congress (Napoli, April 2001). Roma, ISMEZ. Frank, J. M. (1985). "The Effects of Music Therapy and Guided Visual Imagery on Chemotherapy Induced Nausea and Vomiting." Oncology Nursing Forum 12(5): 47-52. Frohne-Hagemann, I. (2004). Rezeptive Musiktherapie aus der Sicht der Integrativen Musiktherapie. Rezeptive Musiktherapie. Theorie und Praxis. I. Frohne- Hagemann. Wiesbaden, Reichert Verlag: 307-340. Gabrielsson, A. (2001). Emotions in strong experiences of music. Music and emotion. Theory and research. P. N. Juslin and J. A. Sloboda. Oxford, Oxford University Press: 431-449. Gabrielsson, A. and E. Lindström (2001). The influence of musical structure on emotional expression. Music and emotion. Theory and research. P. N. Juslin and J. A. Sloboda. Oxford, Oxford University Press: 223-248. Gaertner, B. and A. Seidel (2003). "Music Therapy in Psycho-oncology - A Gender Comparison Research Project." Music Therapy Today (online) 4(2). Gembris, H. (1997). Zur Situation der Rezeptiven Musiktherapie. Musik - Magie - Medizin. Neue Wege zur Harmonie und Heilung. L. Berger. Paderborn, Junfermann: 119-128. Gilbertson, S. and D. Aldridge (2003). "Strategies for searching electronic databases." Music Therapy Today (online) Vol. IV (4) Sept. 2003 available at http://musictherapytoday.net 4(4). Glaser, B. G. and A. L. Strauss (1967). The discovery of grounded theory strategies for qualitative research. New York, Aldine Publishing Co. Goldberg, F. (1992). "Images of Emotion: The Role of Emotions in Guided Imagery and Music." Journal of the Association of Music and Imagery 1: 5-18. Goldberg, F. (1995). The Bonny method of guided imagery and music. The Art and Science of Music Therapy: A Handbook. T. Wigram, B. Saperston and R. West. Chur, Switzerland, Harwood Academic Publishers: 112-128. Goldberg, F. S. (2002). A Holographic Field Theory Model of the Bonny Method of Guided Imagery and Music (BMGIM). Guided Imagery and Music: The Bonny Method and Beyond. K. E. Bruscia and D. E. Grocke. Gilsum NH, Barcelona Publishers: 359-377. Graham, J. (2000). Assessment and Evaluation: An Approach for initial Clinical Assessment and On-Going Treatment in Music Therapy. Assessment and Evaluation in the Arts Therapies: Art Therapy, Music Therapy and Dramatherapy. T. Wigram. Radlett, Harper House: 63-76. 395
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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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there was dialogue between solo ins
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were used partially (in 35 sessions
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Following the guidelines of HMA the
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Figure 8. 4 Intensity Profile of Br
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Figure 8. 5 The digitized waveform
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for assessment. In this project the
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score it is possible to see exactly
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B2 (46-51) V/E Ot B3 (52-55) E Ot V
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C2 (91-100) R R V/S V/E C3 (100-106
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The analysis of the unfolding image
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she only reports verbally that she
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• The complete narrative, based o
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an experience further before finish
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Figure 8. 6 Intensity profile - Bac
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This profile - or map of the’ inn
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Table 8. 4 Event structure analysis
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A5+t (14-16) B1+t (17-21) R S S R V
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B5 (37-39) B6 (39-41) answered tona
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V and irritated, not R wanting to s
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ANHO: The client still has difficul
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For the five of the six participant
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• Analysis of the image potential
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Text and music with accompaniment w
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section of music that visually illu
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intensity increasing feature is the
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A1 (1-10) R/V E S/E B1 (11-21) R/V
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B1 Mein Jesu A1 (1-6) V R E R S V A
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B B3 (after music) E E S side? (tea
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Jesu evoked images related to death
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String Quartet as the most challeng
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Figure 8. 12 Distribution of the th
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Table 8. 7 A grounded theory model
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the imagery: the client reacts with
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9. Discussion “..Where the mind i
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possible to show a decrease in both
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9.1.3 The role of music and imagery
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specific therapeutic influence in t
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or measurable influence on the part
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As these findings are not consisten
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adiotherapy treatment. These commen
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this study (the only exception bein
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and why they are comprehensible and
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was that core images did emerge and
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actually no alternative to “will
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9.2.3.3 The proposed grounded theor
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This leads to the critical question
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The proposed grounded theories cove
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eautiful room with candles, flowers
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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: Clark, M. (1998). The Bonny Method
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
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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
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
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der har arbejdet med de her ting? H
Page 521 and 522:
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
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
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