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Dissertation - World Federation of Music Therapy

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study <strong>of</strong> BMGIM therapists’ understanding <strong>of</strong> this issue. Other constructs and categories<br />

might be elicited, however, it could also be a possibility to use the categories suggested in this<br />

study and elaborate them. As Robson (2002, p. 366-67) writes, there is a debate going on<br />

concerning ‘elicited’, idiosyncratic constructs and ‘provided’ constructs.<br />

5. The use <strong>of</strong> the term ‘psychodynamic contour’ (p.241):<br />

The word ‘psychodynamic’ is a mistake in this context. It should have read ‘psycho-acoustic<br />

contour or pr<strong>of</strong>ile’. Lem’s agenda was not psychodynamic, but psychoacoustic, and he used<br />

the concept “psycho-acoustic pr<strong>of</strong>ile” (1999, p. 79) to enable a quantitative comparison<br />

between the music (Pierné’s Concertstück) and the EEG data. The pr<strong>of</strong>ile is a combination <strong>of</strong><br />

the digitized wave-form, EEG amplitudes and frequeincies (p. 80). One <strong>of</strong> Lem’s interesting<br />

observations was that the relationship between the intensity <strong>of</strong> the musical stimulus and<br />

psychophysiological response in music and imagery is very different from other music<br />

listening conditions. However, Lem’s understanding <strong>of</strong> ‘intensity’ is based on a different<br />

(positivist) understanding <strong>of</strong> “intensity” than the one presented in this study.<br />

6. References to Assagioli in the section about Will in 9.2.3.2 (p. 329- 331):<br />

In the discussion <strong>of</strong> the role <strong>of</strong> Will and Willing in section 9.2.3.2 there is no reference to the<br />

work <strong>of</strong> the Italian psychotherapist Roberto Assagioli. However, such a reference is highly<br />

relevant, not only because Assagioli had an important influence on GIM theory in the<br />

Seventies and Eighties (Bonny & Savary 1973, see Meadows, A. (2002) Distinctions between<br />

the BMGIM and other Imagery Techniques. Guided Imagery and <strong>Music</strong>: The Bonny Method<br />

and Beyond. K.E. Bruscia and D.E. Grocke.), but also because his understanding <strong>of</strong> the Will<br />

is a distinctive feature <strong>of</strong> his theory and method, called Psychosynthesis, as compared to other<br />

humanistic-existential psychotherapies <strong>of</strong> that period. This becomes clear already in the<br />

introduction to Assagioli’s Pyschosynthesis. A manual <strong>of</strong> Principles and Techniques (1965):<br />

“The most distinctive point [between Psychosynthesis and other existential methods] perhaps<br />

is the emphasis put upon, and the central place given in psychosynthesis to the will as an<br />

essential function <strong>of</strong> the self and as the necessary source or origin <strong>of</strong> <strong>of</strong> all choices, decisions,<br />

engagements. Therefore, psychosynthesis includes a careful analysis <strong>of</strong> the various phases <strong>of</strong><br />

the will, such as deliberation, motivation, decision, affirmation, persistence, execution, and<br />

makes much use <strong>of</strong> various techniques for arousing, developing, strengthening and rightly

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