Dissertation - World Federation of Music Therapy

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10 Timbre and quality of instrumentation 10.1 Vocal/SATB none SATB none 10.2 Instrumental solo Solo oboe and solo violin - some solo roles for flute, clarinet, bassoon and horn 10.3 Instrumental - orch. Mostly woodwinds or strings, only full orchestra in selected episodes 10.4 Small group Strings often without bass no solo vocal line -small solo part for oboe Two solo violins, equally important Full orchestra Small string orchestra SATB unaccompanied Continuo: Harpsichord + cello/bass Only strings and 10.5 Instrument groups Woodwinds vs. strings Four-part choral work with orchestra. continuo 10.6 Interplay Dialogue between solo Dialogue between choir and Dialogue between the oboe/solo violin and orch, orchestra, and between each solo violins. between obo and violin (C1). Call-response patterns between solo and solowoodwinds of the vocal parts 10.7 Layering Solo violin creates ethereal Layering through the four Bass instruments form layer two times: before fermata and at Calando part vocal line a specific bass line. 10.8 Resonance - high/low High in solo violin High in choir ??? (Table continues overleaf)
Element Brahms: Violin concerto - slow movement 11 Volume 11.1 Predominantly loud or soft 11.2 Special effects in volume 12 Intensity 12.1 Tension/Release 12.2 Crescendi building to peak, and resolution Brahms: German Requiem - Part 1 Bach: Double concerto – slow movement Mostly quiet Mostly quiet. Middle section has forte sections Mostly quiet and soft. None Some sections pp None. Low tension in A and A’ – high tension, being released, in B Many crescendi in B section, building to peak Apprehension created in low tones. Tension is maintained but resolved In choral sections, building to high note, then dropping away Tension in the pp unaccompanied sections Low tension Only small crescendi 12.3 Tension in harmony, Sudden, unprepared No tension texture and resolution harmonic shifts 12.4 Delayed resolution Present in section B Briefly at pp unaccompanied sections None 12.5 Ambiguity resolved Ambiguity of form – resolved at recapitulation Not evident. None apparent Not evident. (Table continues overleaf)
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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
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jeg ville nødig undvære musikken
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[Folkene bag spørgeskemaerne hævd
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Nej desværre ikke. Altså sådan m
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Nej ikke nødtvungent! ... Men det
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Ja, og jeg føler, at jeg ’fylder
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Der er lissom om jeg er på den and
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meget, og også at give fred; men o
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sådan det er. (Jeg sider og prøve
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[Men hver anden uge er meget passen
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andet sted at jeg har haft meget ti
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f.eks. ’Du er blevet meget mere a
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Og så får jeg lyst til at lave no
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der har arbejdet med de her ting? H
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Berlioz: 4 X PIJØ: #3,2 7 1 L’en
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Marcello: Oboe Concertor, 2nd movem
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WIFU #2 1 ANHO #1 1 4 NURTURING 2-5
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Appendix 8.2.1a. Session notes PIJ
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#5 9.12. Disc OK Bekymring for frem
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#7 14.1 Disc: kun de første 10’
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egge to. Ah! Ingen kamp, så. Sving
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#3 13.11, Disc OK #4 26/11 Disc OK
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
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 587: Element Brahms: Violin concerto - s
Page 591 and 592: 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
Page 597 and 598: 2. The relevance of the listening s
Page 599 and 600: directing the will” (p. 5). A who
Page 601 and 602: Reviewing the sub-questions, the wo
Page 603 and 604: Works Vol. IV, p. 7. The so-called
Page 605 and 606: 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
Page 611: English translation of the intervie
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Dissertation - World Federation of Music Therapy

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