Dissertation - World Federation of Music Therapy

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Disc OK #4 6.12. Ingen optage lse! men jeg har været så gal! Hænger det sammen? Tilgive mig selv. Stå ved vreden/ temperamentet FOKUS: Ro/ styrke –> fordøje oven på vreden. Stå fast, selv om den er der SÅ glad for cd’en. Hørt 50 gange!! Godt at se tilbage på tr.skript –> ta’ ind. Drøm: nyt job –> lavsta-tus, kantinejob, nødvendigt starte forfra og kravle op, acceptere min plads, andre opdager at jeg kan noget mere. Ska’ bare slappe af. FOKUS: Overbærenhed over for mig selv. Være stille m/ glæden. plads du behø-ver (ydre/indre rum). Synk ned hoved –> fød-der; Rum: stå/ mærk Lad alle stem-ninger få plads, åndedræt ta’ din plads på madrassen og i dit indre: stille rum. Gå med musik-ken og lad den føre dig.... violinkoncert g) Bach for 2 violiner 34’ Fik sin cd og blev glad. g) Kirke. Ophøjethed. Uforstyrret. Gud. LYS. Beæret. Hvid kugle svæver. Karl Johan svamp (ulv). Trekant. h) Omsorgsfuld musik. Gi’ mig selv omsorg, det er jo dét, jeg skal. Musikken pakker mig ind – som en puppe. Ta’ kirkerummet med ind i hverdagen. POST: Indlysende. God mening. Spirituel oplevelse. Ikke så meget snak. Ulvekvinden kap.: om raseri og tilgivelse (kopi). MANDALA: Lys, trekant, svampen. Kirkerum. 1. Beeth. 5. piano 1. Lyserød = stilhedens farve. Fin delikat, sprød. Danser... engel, vinger 2. Vivaldi: In terra 2. Store stærke fjer. Kan bære. Stille rolig genkendel-se. Vidunderlig 3. Mozart: Laudate musik. Guld. Kirke. 4. Gounod x2 3. Bølgende frodig kornmark. Ovenfra. Udenfor. Vil gerne være en del 5. Berlioz af...Dømt til at være udenfor! 6. Puccini 4. Ørn. Majestæt. Alene. Ser efter bytte. Vred, alvorlig. Jeg vil ikke være 7. Duruflé x 2 ensom, slå ihjel. Det gør ondt // ørnens fødder plantet på jorden. 8. Bachs Air Fortæller? Drop det (med stilheden)! Du er jo ørnen. Med denne 9. Shostakovich erkendelse – lad musikken være omkring dig (< cresc. Sanctus) ..... Helt klart billede: mig som lille bitte foster sover i lyserød hinde/ ballon. Musikken udenfor. 5. Musikken er der for din skyld. Fantastisk du siger det! 6. Glæde, lethed. Flamingo. Holde balancen på ét ben. 7. Kirke. Bøjet hoved. Lyset. Trekant fra oven til mig. Meget lille/ kæmpe katedral 8. Lyserødt igen. Møl m/ vinger. Neutralt. Slange. Truende potentiale. Hjælpe den med at lukke gabet. 9. Blad der vugger på strøm af vand. Barnet sover fortrøstningsfuldt. Ny stille strøm. Pakker i guld POST: Symbolleksikon om ørnen (og slangen). Nyt for I. St<strong>of</strong> til eftertanke. Stort! MANDALA: Lyserød ballon/ foster med orange liv udenom. NYT SYN på sig selv?
#5 3.1.03 Disc OK #6 15.1. Disc OK Gennemgår #5: en afgørende rejse! Nyt mål: forsoning med mig selv (integration af modsæt-ninger) FOKUS: vende mig om og se .... i øjnene! Forsoning. Inge bringer diskussion op om: ’vi taler ikke så meget om min psyke i forhold til kræft’! Er det et problem? (for jer) Uddyber noget af sin livshistorie – barsk! Skilt 2 gange + fået kræft inden for 5 år. 1. Kropsafspænd-ing. Varme. På en flad grå ’neutral’ slette; Gud tilstede + noget lyserødt. FOKUS: Fortrøstning. Krop, åndedræt, tillad alle stemninger og følelser være der med særlig opmærksomhed på ønsket om forsoning..... 1. Rhosymedre 2. Berlioz 3. Puccini 4. Massenet 5. Bach for 2 violiner I: 3’ + 30’ + 7’ (Postl.) 1. Komm süsser Tod x 2 2. Mein Jesu 3. Brahms violin 4. Bach for 2 33’ Husk 4 ting: cd, kopi, mandala artikel, Vivaldi. 1. Solopgang. Livgivende lilla lys. men jeg har travlt med at løbe, løber for at undslippe mig selv: hårdt og udmattende. Noget du ku’ ønske? 2. Stoppe op! Noget der forhindrer? Nej, og tænker at jeg vil gøre det på en total brat måde! Stopper op og vender hovedet, kroppen følger ikke med. Det fine lys hjælper, men det er ikke nok. Jeg må gøre det selv. Ensomhed = gul søjle/ kerne inde i mig // ild som fortærer./ Musikken kommer til undsætning: lyserøde svaner/ dyner. Ahh! Vidunderligt, men eskapisme, stakket frist! Hænger ikke....? .... jo, det hænger sammen – er hinandens modstæninger. men det ene er en flugt fra det andet! 3. Musikken vil mig det godt. Kaleidoskop: perler på plads i nye mønstre. Der mangler ikke noget. 4. Aha! Det er sådan det er. Til efterretning. Er en fugl, skabt til at la’ mig bære af luftens strømme. Genialt. 5. Leger. Skal ingen steder. Intet mål. Alene, ikke ensomt. Uproduktivitet i positiv forstand. Lille nisse kravler op i himlen. Rovsvale snupper nissen og flyver væk, ud af mit synsfelt. Slår mig til tåls. Færdig slut med den historie! POST: Tomhedsfor-nemmelse, som efter en bog er læst færdig. Irri-tabel. Tillad dig selv at være i tomheden. Du be-høver ikke finde på noget nyt lige nu! Total ingentingsligevægt. Det ER! Ny fornemmelse. MANDALA: Svalen flyver ud med nissen, væk! 1. Nysgerrig: hvad vil musikken gi’ mig? Dødsmesse? Som en kiste, der bæres langsomt, sort stemning .... MEN OGSÅ nænsomhed, fødder, forsigtigt sat i jorden og løftet// Ro. Pakker mig ind. Kæmpe vinger. Grå. Gylden sol stiger op over horisonaten – vingerne flyver i den retning. Dvælende. Det er det jeg søger. 2. Trist. Elefant. Stor, træt, slæbende. Slaget er tabt (for at få det hele til at gå) Jeg er den elefant. Den skal skydes. Opgivet. Lotus. Fortrøstningsfuldt = Tegn på, at der er én der holder hånden over .... jeg kan se det. Trygt.
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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
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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
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 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: Appendix 8.2.2a Session notes INLA
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
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
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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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