Dissertation - World Federation of Music Therapy

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# 10 24.03 ændre på? Brug for næring til at stå det igennem. FOKUS: Det hvide rum. Være ligeglad (underforstået ikke så intens) Livet kræver meget. Ønsker at Gud bærer mig. Træthed. I går 2 årsdagen for min sygdoms udbrud. Hårdt. Om dødsangsten. Uafklarethed – fanget i en kas-se, dobbeltheden; Sisyfos, trædemøllen > < jeg vil bæres. FOKUS: Finde en udvej... en dør Nærm dig det hvide rum, åbn dit sind ..... lad musikken.... Åndedræt. Flere rum: det hvide og kassen. Universalenergi/ - kraft udefra. Kroppen igennem ... ser mig selv i kassen udefra CONVERSATIONS 1. Elgar 2. Ravel 3. Bizet 4. Mendelssohn 5. Mozart 6. Schmidt 7. Stravinskij 45’ + kigger bare. Fugle, rolige optaget af sig selv (= jeg er) Gud (celeste!) banker på. Stige ned til mig. 4. Han vil passe på mig. Hænder på skuldre, ser mig dybt i øjnene: Ikke kæmpe SÅ meget mere! Gå ind i det. Se det i øjnene. Konfrontér det. Ensomt og hårdt! 5. Han går op. Klare resten selv. Sur. Trasker væk. Givet mig en ny kamp! Nogle ting må man erfare selv. Trist. POST: Det er jo det rigtige han har gjort. Hjulpet mig, bare ikke på den måde, jeg forventede. Vigtigt at dvæle ved de ikke-intense (utydelige, svage farver, stemninger). Nyt sted at lande. Se Gud (og sig selv i øjnene). 1. Fredeligt, men sover ikke. Efterårsblad, sendes blødt af sted, ligesom dukken, der kastede sig viljesløst... lader sig føre. Vigtigt at jeg har øjnene åbne. Blad falder til hvile på stille vand. 2. Vugger. Det er alt sammen meningen! Dør –> græsmark m/ får, glansbilledagtigt. Slentrer uden at styre. Jeg er ikke lukket inde i min egen verden. Jeg er i denne [billede]verden, som er smuk og harmonisk. Hvordan kom jeg herud? Kan jeg komme tilbage? Ked af det. Sitren og banken i hjertet. Hvorfor er det fortsat så hårdt? (græder) Eksistentielt alen. Ensomt. Ingen kan hjælpe mig at finde vejen. Kaosfølelse. 3. Blad igen. Mange. Familieskab. 4. Måske været der hele tiden, bare ikke set det. Grankogle. Fisk. I floden. Ked af det, fordi musikken er så smuk. Får. Visdom, men hvordan får jeg den? 5. Ikke lede og søge m/ viljen. Guld på fåret. Naturen. Glæde. Eftertænksom. 6. Svar! Jeg står på jorden – ser op; det åbner sig. Lysegrå klipper, jeg er støvdragerne i en blomst. Glædesfyldt. Som at komme hjem. Gud. Armene op fordi jeg er glad (ikke fordi jeg skal derop). 7. Tremmer. Trist. Musikkens bølge bærer mig ud. Der er altid en udvej. POST: Mat, men forløst. Flere tårer end nogensinde før. Plads til begge dele (af dobbeltheden). Gi’ slip på kontrollen/ styringen. Så kommer tingene til mig. MANDALA: Blomst. Åbning til Gud. Centreret. Gul.
Appendix 8.2.2b Session notes INLA (English) Lilla. Der er altid en udvej! INLA PRELUDE – FOCUS INDUCTION MUSIC IMAGERY (summary w. core images and important statements underlined) – MANDALA – POSTLUDE #1 Joy, lightness, solar Body/breathing 1. Brahms Violin 1.Wings – a naked maple tree – decline – death – accept of the cycle: It 17/ 10 plexus, yellow-orange, Let the colour in s.p. concerto, 2nd. mov. does not die , it must hibernate. gold spread into the body 2. Bach Double 2.Being gently touched by the music – warm, soft , fleecy, redly fabric.- Disc as much as you need. Concerto, 2nd mov. movement like a yellow cornfield with life. OK Ind. 7’ + 15’40 MANDALA: The cornfield #2 #1 –> the images are Let your outer life 1.Rhosymedre 1. Gentle music. caring. feel sad, because I need comfort and nurturing so 30.10 different from withdraw. Find your 2.Berlioz x 2 much. Wrapped up like in a pupa. meditation images. centre. Concentrate 3.Puccini 2. A steep cliff at the sea in GB. Stands steady in the wind. Enjoy it! Other ’rooms’ in me – on your breathing. 4.Massenet Cannot be knocked down. A dark cloud is threatening. It is swept away. they are valuable! Imagine the 5.Canteloube Predestined to do that. Comfort and hope // (At second entry of theme: Disc Makes sense. cornfield, the falling 6.Rhosymedre deep breathing). Wonderful. Contrary emotions in the music. The OK FOCUS: Give me leaves, the colours, singers are 10 meter high! The choir – an me as a small stone in front of power! the soft red carpet -> 30’ + 29’ (Postlude) it. My place is just as important as... and everybody knows that! That’s What does power mean your own space. heartening. to you? Calmness, 3. Standing at the ground, heartened?... Yes, it makes sense. Pain and strength, being in my access to joy at the same time. own space; get rid over 4. A conch. Waving, like the cornfield. (Near the end of the music a new over-responsibility and image:) A tiny car puffs along. I AM the car. Great. Take the family on what my head tells me. a picnic. Rain. A great shower. A rainbow. Images from #1 5. Sharp red cliffs (The singing voice! Aggression – it’s about myself). It’s beautiful, I just wish it wasn’t red, but yellow. 6. The journey is over. Slow crawling titles. Melancholy: I wish it could go on. An orange snail (also me)! POST: TIME! Images have deep meaning -> I don’t have to control everything, e.g. the cloud. MANDALA: Snail / aggression. Calmness
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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
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den der kæmpeindsats, som jeg har
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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 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: #8 24.02. Disc OK #9 17.03 Til US b
Page 549 and 550: #5 3.1.03 Disc OK #6 15.1. Review o
Page 551 and 552: #8 24.02. Disc OK Control examinati
Page 553 and 554: FOCUS: Finding a way out... a door.
Page 555 and 556: #3 13.11. Disc OK #4 21.11 Disc: ku
Page 557 and 558: #7 19.12. Dis OK #8 30.1. Ingen opt
Page 559 and 560: Appendix 8.2.4 Session notes ANHO (
Page 561 and 562: Disc OK #6 7.1.03 Ingen optagels e
Page 563 and 564: # 10 31.03 Disc OK hul igennem. For
Page 565 and 566: OK #4 3.12 Disc OK #5 19.12. Disc O
Page 567 and 568: Disc OK #10 17.03. Disc OK Andre ha
Page 569 and 570: #3 19.11 Disc OK #4 28.11. Disc OK
Page 571 and 572: Disc OK #9 11.3. Disc OK Lang snak
Page 573 and 574: 557
Page 575 and 576: Appendix 7.4 MINI-WORKSHOP - RESEAR
Page 577 and 578: Appendix 8.5 Brahms Score + Imagery
Page 579 and 580: • The movement is basically suppo
Page 581 and 582: Appendix 8.7 Bach: Komm süsser Tod
Page 583 and 584: Appendix 8.9 Analysis of selected m
Page 585 and 586: Element Brahms: Violin concerto - s
Page 593 and 594: Appendix 9.1 Types of clinical rele
Page 595 and 596: 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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