Dissertation - World Federation of Music Therapy

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#6 3.1.03 Disc OK Haft det rigtig skidt! Nede på bunden: trist. Kan ikke se lyset forude. Om julen, terminsprøver, fester mm. Status. Sætter ord på vores relation. Fint! Brug for kampgejst, men måske kæmper jeg i virkelig-heden for meget? FOKUS: At være med tristheden.... og se Kropsafspænding. Åndedræt. Giv plads for følelser og stemninger. Lad musikken blande sig med tristheden.... 1. Marcello 2. Rodrigo 3. Grieg 4. Dvorak Larghetto 5. Bach Prelude e flat 6. Brahms violin 7. Bach for 2 49’ er kommet ud. 9. Nejer, bukker. Danser. Vielsesringe. Dejligt at holde i hånd. // Mod min kind. Rød forsvinder. / Perlekrans, armene. Guldtryk på kjolen. POST: Svært – at komme nogen vegne! MANDALA: Øje, sprække at kigge ind (og ud) af. Puppe. Farver: gul, skaktern, vildnis, grønne blade, rød. Tema: Vende op og ned på perspektivet. Undersøge/ udforske/ skelne. Gå ud i vildnisset og ikke være bange. Nødvendigt for at få et nyt syn! .... på verden og sig selv. Heltinderejse? Fået en cd. 1. Står på bunden af tønden. Hvid lilje falder ned. Flot i forhold til det rustrøde. Meget langt op.... 2. blå himmel skimtes. Det drysser, glimter, vand. Jeg i vandfald. Junglen. Øjne ser på mig. Hvad? Mig som isklump. Splintrer. Jeg træder ud. Dueblå kjole. Rolig. Blæst væk, opad i himlen. Hvide skyer, meget langt ned. 3. Noget stort der passer på mig. Svane flyver mig ned mod jorden. Hurtig film. Knækker. 4. Jeg ta’r fat og kigger. Dame er meget ivrig: vil ha’ mig med ind i filmen. Lyserød kjole m/ slæb. Ind og ser ud på afgrund: Lavaagtigt. 5. Jeg er en fjer der daler ned. Lugter brændt og af blod! (blodposen, ser mig selv i seng uden hår, ikke rart). Lavaen er størknet. Mørke. 6. Suges længere ned. Kan ikke komme længere. Grøn, stor slange, som skal hjælpe mig. Spiral jeg kan gå op ad. Op til hovedet. Ind bag sørgmodige øjne. Maskinrum/ laboratorium. Spændende, er nysgerrig. 7. De har travlt inde bag ruden. Håndtag. Lukker damp ud i flotte farver. Fylder hele rummet. Ud af slangens næsebor. POST: At ha’ været helt nede, kan ikke komme længere. Ny måde at komme op på. Langsommere! MANDALA x 2: Slangen + lava og dampen. Vendepunkt?
#7 14.1 Disc: kun de første 10’ ! #8 29.1. Ikke optaget! Har det bedre. 2 drømme: 1) babyhoved u/ krop, skulle føde, men blev forstyrret –> arrestation af søn (træls stemning) 2) baby + lidt større barn beskyttes mod spøgelse; jeg ta’r kontakt med spøgelset –> kommer igennem faren. Træls følelse IKKE så påtrængende. FOKUS: Nysgerrig efter hoved u/ krop. Håbløshed. Ked af det. Trist. Ondt i tarmene. Senfølger! Venter på tid til us. (bange for udsigt til stomi, at kæresten ikke holder til det, for at skulle afbryde udd.) ’Afsked’? FOKUS: Ønske om at se ’lys’: lysegrønne bøge-træer, anemoner, havluft - midt i uvisheden/ smerten. Kropsrelax. – åndedræt. Ønske undren .... mærk hovedet i dine hænder .... Frisk havluft, lysende energi –> kropsdelene fra top til tå. 1. Resphigi (Roms..) 2. Debussy 3. Cesnokov 4. Pachelbel 5. Bach for 2 10’ (Opt. afbrydes i Debussy *) 1. Ansigt forsvinder –> sort hul. Trist. Hovedet er væk. Ønske? Se hvad der er i tomheden? Flyver ind i det sorte hul; bamse. Ikke min. Blød og fast. Jeg kigger bare. Lyst. 2. Morgengry. Langsomt trække tæppet fra. Højt oppe fra. Bamsen falder ned. Bange. Ta’r den i armene. Slugt i goldt landskab. * Sø. Ansigter under vand. Vigtigt for dig? Håret. Vil ikke så langt ned. 3. ER dernede og kigger op. Vil gerne op. Hovedet er for tungt. Slange indeni. Forrådnelse. Trist. Håret er tilbage. 4. La’ dig føre af musikken....derhen hvor du har brug for at være! Fisk. Op til overfladen. Frisk saltvand. Luft. Kan trække vejret. Nyt landskab. Bjerge, sne, gletscher. Is ned m/ ordentligt drøn i havet. (Dybere vejrtrækning). Fisken svømmer. 5. Grønlændere. Forstår dem ikke. Andre sanser? Helt grundlæggende: jeg træder ud af fisken og er mig selv. Bål. Måltid. Enkelt. Ukompliceret. De er glade. Ro. POST: Vende og dreje symboler og billeder – se forskelle og ligheder m/ tidl. Obs! På forandringen: lade noget gå i forrådnelse og tage resten (håret = livskraften) med sig. Det enkle liv (kajakroning mm.) Skifte ham/ træde ud af fisken/ være mig selv. Kroppen har jeg ikke accepteret endnu som den er m/ alle dens skavanker. Pastorale + Shostakovich 1. Skoven, bøgetræer, anemoner. Skygger for lyset. Vil gerne 1. Debussy 2. Liadov 3. Venus 4. Grieg x 2 5. Shostakovich flytte mig. Hængekøje. Noget falder ned. Leder efter. Hvidt blondelommetørklæde. 2. Gennemblødt. Varmt tæppe. Knus. Pige (4-5år) forladt. 3. Kuffert m/ bamse og billeder. Hyggelige minder om de døde. Bamsen får knus. Hudløs. Krøluld. 4. Solsort bygger // jeg i reden. Højt ned. Jæger. Bange. Henter mig ned. 5. Klapper hunden. Godt at blive fundet. Danser. Dejligt. Truende udenom. Fast ring. Mindre plads. Ro. Helt suget ind. Opslugt. POST: Noget af mig forsvinder op!
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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
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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 and 528: Appendix 8.2.1a. Session notes PIJ
Page 529: #5 9.12. Disc OK Bekymring for frem
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
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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
Page 607 and 608:
In this study, I have used the thir
Page 609 and 610:
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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