Dissertation - World Federation of Music Therapy

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#3 13.11, Disc OK #4 26/11 Disc OK Lettelse. Positive svar på us. Fredet i 3 mdr. Glæden v/ skolearbejde. FOKUS: Krop. Blive glad for min krop igen. Pleje/ omsorg. Kvindeligheden. Fotos! Hverdagen overvældende: skole, præstationskrav, gl. mønster. Skuffet over mig selv. Tvivl. Lavt selvværd. Vil gerne holde fast i trådene til gode ting. FOKUS: Inde i kugle, tråde, sø, lys, åkande, kvindeligheden. Fysisk induktion Bølgende/ masserende energi v/ fødder – > op til hoved. Lad musikken røre din krop og gi’ den hvad den har brug for Krop. Åndedræt. Fristund til fokus på ro. Ånde-dræt. Kuglen. Tråde, hænder, søen, lys, åkan-de –> tillad dig selv at være dèr, lad musikken gi’ dig det du har brug for 1. Rosymedre 2. Berlioz 3. Puccini 4. Massenet b) Shostakovich c) Warlock x 2 33’ + 14’ (Postl.) + 30’ (Mandalategning) 1. Haydn 2. Puccini 3. Bach – hyrdesang 4. Dvorak b) Boccherini c) Russian 2 d) Shostakovitch 42’ + 5’ (Postl.) maler=kreativitet, eget bryllup i GB negativt (skændtes m/ præsten!) bryllup symbolsk=forening, let dans, fra skeletter til at få ansigt på, bevægelse fra at betragte til at involvere sig. Nissen. Går smilende/ leende herfra. • Bølgende moden kornmark. Fingre spredt ud, fylder. • Mørkt. Store hænder, klodsede. Lys. Stiv krop. Porcelæn. // Hul. Krakelerer. // Noget kommer ind. Der lukkes vand ind. Vokser indefra. Åkander. En stor hvid. Smuk. • Lyst udenfor. Spæd. Skovsø, åkander, ældgamle træer. • [Til introen:]Søen ødelagt/ forurenet. [Resten]Lys på åkanden. Sommerfugl. Hviler sig. Slange. • Pænere nu. Sommerfuglen flyver væk. Søen ved at komme sig igen. Åkanden rydder op. Liv. Haletudser. • Kropsfornemmelse. Stiv i nakken – eller følelsesløs. Det er ligesom min krop igen. Bløde former. Lyserød. POST: Nøglebilleder: 1) ud af skallen 2) lys på blomsten i søen 3) grønt urgammelt mos = robusthed. MANDALA: Grøn ramme, blå sommerfugl, lyserød, lys. 1. Inde i sæbeboble. Åkande. Blød brumbasse. Ka’ ikke nå den. Boblen springer. På åkandeblad. Stængel. Trækker i den. Den sidder fast, trygt! 2. Mange åkander. Fra blad til blad. Op i en blomst – næsten lisså stor som mig. Ukompliceret – roligt. Elfenbensfarvet. Kirkeagtigt. 3. Guldsmed. Bærer mig. Flyvetur. Ser ned på søen. Bange for det grå. Højt oppe. Tryghed ved at blive båret. Ligge på guldsm. 4. Længere ned. Trist, tåge. Guldsmed kan næsten ikke klare det! Dø? Jeg vil gøre noget – den skal ha’ sol.Jeg triller den ud i
#5 9.12. Disc OK Bekymring for fremtiden. Der-er-noget-trygt-ved-atvære-syg! Nu er jeg rask! Det forpligter. Krav/ forventninger. HH – hvad så? Læreplads? FOKUS: Se angsten i øjnene. Ikke gemme den væk. Krop. Åndedræt. Mærk madras-sen støtte dig. Riddersalen. 1. Haydn 2. Puccini solen. Hårdt. Tæt på at komme ud af tågen. 5. Tørrer. Den klarede det! (… og du klarede det…!) Alle farverne kommer igen. Hvad skal jeg nu? Ind til bredden. Store rødder. På vej op. Rødderne våde og glatte/ De fører ind i 6. Hule. Munke. Fakler. Trangt. Hvide (åkande) rækker ”arm” ind for at få mig ud; tager mig med. 7. Åkanden viser et andet sted. Trappe op. Noget kalder på mig. Fakkel med. Riddersal. Lysebrune farver, Skak-ternet gulv. Rød kjole m/ guldbroderi. Dejlig. POST: Guldsmed, søbredden, Munke. Åkanden. Riddersal. Farverne. MANDALA: Flere rum. Nye muligheder. Snak om betydning/ mening i forhold til fokus. Skakspillet. Dronning? Vilje/ skæbne. 1. Karnap m/ totalt vildnis. Helt op til vinduerne. Også lys. Dør tv. Ind i salen. Maleri m/kvindelig præst. 3. Debussy 2. Ser på mig. Violinspiller ovre i hjørnet – m. stor lysestage. 4. Bach Ubehageligt: Kvinden siger ikke noget. ?ønske Hjælpe mig. 5. Dvorak Spørgelse bevæger sig rundet. det er flot. 6. Warlock 3. Engel græder. Violin spiller igen. Engel hen mod vildnis, 7. Bach for 2 violin hen til døren. Snyd: Lyset var malet på! Ud hvor jeg kom 8. Shostakovich ind. Gondol. Rød kjole. Mørkt. 9. Warlosk x 2 4. Stjerner blinke. Fe. Flyve ud på den anden side. Den røde kjole kærnget af – færdig med den! Lys, blå himmel. Ser I: 8’ + 54’ + 3’ ned på verden – en mark. 5. Ræv. Snyd: Kun en pels! Ræveunge. Den er rigtig. Levende. Fare på færde! 6. Stenalderagtigt. Telt af pels. Røg. – Violinspilleren er der igen. 7. Tilbage i Riddersalen. Slår ruden itu. Ind i vildnisset. Ta’r fat i rødderne. Urskov. Papegøje. Ser øjnene af andre dyr, der lurer. Ind bag ved i øjet (i maleriet?). Vender mig om, ser tingene fra den anden side. 8. Ser ind på skaktern – nu ogsåpå væggene. Jeg er for lille til at fylde kjolen ud. Violinmanden holder mig i hånden, som
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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
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individuelle BMGIM-sessioner, som r
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C30-scores viste stigninger i genne
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• Heuristisk Musikanalyse (Brusci
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som velegnet til psykosociale under
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REFERENCES (2002). Appendix B: Musi
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Ansdell, G. (2001). Musicology: mis
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Bonde, L. O. (2002). Introduction t
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Bonny, H. L. and L. K. Marids (2001
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Clark, M. (1998). The Bonny Method
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Ferguson, D. N. (1960). Music as Me
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Hilliard, R. E. (2002). The effects
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Keiser, L. H. (1986). Conscious Lis
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Mahns, W. (1998). Symbolbildungen i
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Munro, S. (1993). "Music therapy in
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Robbins, C. and C. Robbins (1991).
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Short, A. E. (1997). "Jungian arche
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Tüpker, R. (1988). Ich singe was i
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Zachariae, B. (1997). "Forestilling
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LIST OF APPENDICES LIST OF APPENDIC
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Appendix 4.1 Data on six participan
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ESMA: 65 years old, married, three
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Appendix 4.2 Patientinformation (in
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Appendix 4.3 The HADS questionnaire
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Spørgs - mål nr. Vælg ét svar f
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Appendix 4.4 The EORTC QLQ-C30 ques
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427
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Fig. 5.14 ESMAs QLQ profile 120 100
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Fig. 5.18 WIFUs QLQ profile 120 100
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Appendix 6.2 Illustration of the de
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435
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henføre dem entydigt til noget som
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Ja. Hvert eneste gang har det være
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Det er meget rigtigt. Jeg har jo ik
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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
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
Page 495 and 496: jeg ville nødig undvære musikken
Page 497 and 498: [Folkene bag spørgeskemaerne hævd
Page 499 and 500: Nej desværre ikke. Altså sådan m
Page 501 and 502: Nej ikke nødtvungent! ... Men det
Page 503 and 504: Ja, og jeg føler, at jeg ’fylder
Page 505 and 506: Der er lissom om jeg er på den and
Page 507 and 508: meget, og også at give fred; men o
Page 509 and 510: sådan det er. (Jeg sider og prøve
Page 511 and 512: [Men hver anden uge er meget passen
Page 513 and 514: 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
Page 519 and 520: der har arbejdet med de her ting? H
Page 521 and 522: Berlioz: 4 X PIJØ: #3,2 7 1 L’en
Page 523 and 524: Marcello: Oboe Concertor, 2nd movem
Page 525 and 526: WIFU #2 1 ANHO #1 1 4 NURTURING 2-5
Page 527: Appendix 8.2.1a. Session notes PIJ
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
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Page 575 and 576: Appendix 7.4 MINI-WORKSHOP - RESEAR
Page 577 and 578: 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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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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