Dissertation - World Federation of Music Therapy

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Appendix 5.1 QLQ-C30 Profiles of six participants The QLQ-C30 questionnaire addresses many aspects of the participants’ daily life, also many that were not within the focus of this investigation. This means that the individual “QLQ profile” of each participant is very specific. This appendix contains information on pre-test, post-test and follow-up scores of each participant. 120 100 80 60 40 20 0 Fig. 5.13 ANHOs QLQ Profile ANHO QLQ-C30 Scores PF RF EF CF SF QOL FA NV PA DY SL AP CO DI FA QLQ-C30 Subscales PRE POST Fig. 5.13 shows how ANHO scored on each of the subscales at pre-test, post-test and follow-up. Increased scores in all functional scales except SF and in QoL can be seen both at post-test and follow-up, while there is no clear pattern in the symptoms scale scores. 428 F-O
Fig. 5.14 ESMAs QLQ profile 120 100 80 60 40 20 0 ESMA QLQ-C30 Scores PF RF EF CF SF QOL FA NV PA DY SL AP CO DI FA QLQ-C30 Subscale PRE POST Fig. 5.14 shows how ESMA scored on each of the subscales at pre-test, post-test and follow-up. Decreased scores in two of the functional scales (RF, EF) and in QoL can be seen both at post-test and follow-up, while PF, CF, an SF are stable. ESMA had very few symptoms. Fig. 5.15 INLAs QLQ profile 100 90 80 70 60 50 40 30 20 10 0 PF INLA QLQ-C30 Scores Fig. 5.15 shows how INLA scored on each of the subscales at pre-test, post-test and follow-up. Increased scores in all functional scales except RF,CF and SF and in QoL can be seen both at post-test and follow-up, while there is no clear pattern in the symptoms scale scores, even if PA, SL and FA decrease markedly. F-O 429
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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
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The three categories illustrated in
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scores are influenced by my negativ
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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
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 and 410: Clark, M. (1998). The Bonny Method
Page 411 and 412: Ferguson, D. N. (1960). Music as Me
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: 427
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
Page 461 and 462: Ham ville jeg godt hilsen velkommen
Page 463 and 464: them out. Questionnaires like these
Page 465 and 466: it is the music! No, it is not only
Page 467 and 468: Maybe it influences me so strongly
Page 469 and 470: the music should be different. (…
Page 471 and 472: [Are there other images that you…
Page 473 and 474: Ja det tror jeg. Hvor er det lige j
Page 475 and 476: drømme jo også - de kommer også
Page 477 and 478: De hører fuldt ud sammen. Hvis man
Page 479 and 480: [The questionnaires indicate that y
Page 481 and 482: guess it has been working in the su
Page 483 and 484: them, many stairs and things like t
Page 485 and 486: Appendix 6.4.3 Interview med ESMA 9
Page 487 and 488: været mere eller mindre på afstan
Page 489 and 490: skørt, for det er virkelig svært
Page 491 and 492: den der kæmpeindsats, som jeg har
Page 493 and 494: 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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Page 591 and 592:
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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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