Dissertation - World Federation of Music Therapy

More documents

Recommendations

Info

vi 4. METHODOLOGY............................................................................................................................119 4.1 Multiple methodology – an epistemological challenge.........................................................119 A note on my personal background ...................................................................................120 4.1.1 Problems and potentials in using multiple methods – the epistemological level ................122 4.1.2 Ontological implications of using multiple methods. .........................................................124 4.2 Participants...........................................................................................................................128 4.3 Clinical setting, therapeutic procedure and materials..........................................................130 4.4 Design ...................................................................................................................................132 4.5 Data analysis: The quantitative investigation.......................................................................137 4.6 Data analysis: The qualitative investigation.........................................................................138 5. RESULTS OF THE QUANTITATIVE INVESTIGATION .........................................................................143 Introduction .................................................................................................................................143 5.1 Effects of BMGIM on anxiety and depression.......................................................................143 5.2 Effects of BMGIM on quality of life. EORTC-QLQ-C30 ......................................................147 5.3 Effects of BMGIM on quality of life. SOC.............................................................................153 5.4 Value of BMGIM therapy to participants: Four specific questions ......................................160 5.5 Discussion.............................................................................................................................161 5.6 Summary of the results..........................................................................................................162 6. RESULTS FROM THE QUALITATIVE INVESTIGATION.......................................................................165 Introduction: Data material, methods, and reporting in chapters 6-8.................................165 6.1 The interview study ...............................................................................................................166 6.2 A grounded theory study of the imagery and the metaphors.................................................178 7. TWO CASE STUDIES. A MIMETIC ANALYSIS AND A GROUNDED THEORY PROPOSAL.......................189 Introduction..........................................................................................................................189 7.1 Case study: PIJØ ..................................................................................................................191 7.2 Case study: INLA ..................................................................................................................204 7.3 Similarities and differences...................................................................................................218 Summary ...........................................................................................................................................221 7.4 A grounded theory of six participants’ experiences of the BMGIM process.........................222 8. ANALYSIS OF MUSIC AND IMAGERY..............................................................................................229 8.1 Literature review...................................................................................................................229 8.1.1 Qualitative music research..................................................................................................231 8.1.2 Qualitative methods focusing on improvisations in active music therapy. .........................235 8.1.3 Qualitative methods focusing on composed/recorded music in receptive music therapy ...239 8.1.4 Qualitative methods used in GIM .......................................................................................242 8.2 Method ..................................................................................................................................246 8.3 Analysis of the interrelationship of music and imagery ........................................................248 8.3.1 Analysis I: Brahms Violin Concerto, Bach Concerto for 2 violins, slow movements.........248 8.3.2 Analysis II: Content analysis of selected music and episodes.............................................286 8.3.3 Analysis III: Supportive vs. Challenging Music .................................................................301 8.4 A grounded theory of the relationship between music and imagery. ....................................306 9. DISCUSSION..................................................................................................................................311 9.1 Findings ................................................................................................................................312 9.1.1 The efficacy of BMGIM in cancer rehabilitation................................................................312 9.1.2 The participants’ experience of BMGIM............................................................................313 9.1.3 The role of music and imagery ...........................................................................................315 9.2 Findings in relation to previous research and the theoretical basis.....................................317 9.2.1 The overall efficacy of BMGIM in cancer rehabilitation...................................................317 9.2.3 Findings related to the theoretical basis..............................................................................323 9.3 Limitations ............................................................................................................................337 9.3.1 The role of the therapeutic relationship ..............................................................................337 9.3.2 The relationship between music and imagery.....................................................................340 9.3.3 Supportive vs. challenging music .......................................................................................340 9.3.4 Validity and reliability issues raised by the participants.....................................................344 9.4 The development of new theoretical and methodological ideas based on the results ...........347 9.4.1 Appraisal of the multiple method design used in the study.................................................347 9.4.2 Heuristic music analysis as compared to other types of music analysis..............................349 9.5 Clinical applicability of the findings.....................................................................................356
9.6 Directions for future research...............................................................................................359 9.6.1 My personal process ...........................................................................................................361 9.7 Conclusion ............................................................................................................................363 ENGLISH SUMMARY...................................................................................................................366 DANSK RESUME ..........................................................................................................................374 REFERENCES ................................................................................................................................385 APPENDIX 4.1 DATA ON SIX PARTICIPANTS AND THEIR GIM PROCESSES. ........................................415 APPENDIX 4.2 PATIENTINFORMATION (IN DANISH) ..........................................................................419 APPENDIX 4.3 THE HADS QUESTIONNAIRE .....................................................................................421 APPENDIX 4.4 THE EORTC QLQ-C30 QUESTIONNAIRE..................................................................425 APPENDIX 4.5 ANTONOVSKY’S SOC QUESTIONNAIRE .....................................................................426 APPENDIX 5.1 QLQ-C30 PROFILES OF SIX PARTICIPANTS ...............................................................428 APPENDIX 6.1 INTERVIEW-GUIDE.....................................................................................................432 APPENDIX 6.2 FIRST SET OF IMAGERY CATEGORIES.........................................................................433 APPENDIX 6.3 (MISSING) ..................................................................................................................434 APPENDIX 6.4 INTERVIEWS WITH THE PARTICIPANTS (TRANSCRIPTIONS).........................................436 Appendix 6.4.1 Interview med INLA 26.5.2003 .........................................................................436 Appendix 6.4.1b Interview with INLA (Translation LOB) ..........................................................446 Appendix 6.4.2a Interview med PIJØ 6.5. 2003.........................................................................456 Appendix 6.4.2b Interview with PIJØ (Translation LOB)...........................................................462 Appendix 6.4.3 Interview med ESMA 9.5.2003..........................................................................469 Appendix 6.4.4 Interview med ANHO 19.5.03 ...........................................................................481 Appendix 6.4.5 Interview med SAAA 11.5.2003.........................................................................489 Appendix 6.4.6 Interview med WIFU 17.5.2003 ........................................................................496 APPENDIX 8.1 OVERVIEW OF MUSIC SELECTIONS USED IN ALL SESSIONS...................504 APPENDIX 8.2 SESSION NOTES (6 PARTICIPANTS).............................................................................510 Appendix 8.2.1a. Session notes PIJØ (Danish)...........................................................................511 Appendix 8.2.1b Session notes PIJØ (English) ...........................................................................518 Appendix 8.2.2a Session notes INLA (in Danish) .......................................................................525 Appendix 8.2.2b Session notes INLA (English)...........................................................................531 Appendix 8.2.3 Session notes ESMA (in Danish)........................................................................538 Appendix 8.2.4 Session notes ANHO (in Danish) .......................................................................543 Appendix 8.2.5 Session notes SAAA (in Danish).........................................................................548 Appendix 8.2.6 Session notes WIFU (in Danish) ........................................................................552 APPENDIX 8.3 BRUSCIA. “THE DOOR” /LEVELS OF TRAVELLING.................................................558 APPENDIX 8.4 MINI-WORKSHOP – RESEARCHING MUSIC AND/OR IMAGERY ................559 APPENDIX 8.5 BRAHMS SCORE + IMAGERY TRANSCRIPT EXAMPLE..................................................561 APPENDIX 8.6 PHENOMENOLOGICAL MUSIC DESCRIPTION ...............................................562 APPENDIX 8.7 BACH: KOMM SÜSSER TOD........................................................................................564 APPENDIX 8.8 BACH: MEIN JESU!..................................................................................................... 570 APPENDIX 8.9 ANALYSIS OF SELECTED MOVEMENTS USING THE SMMA .........................................567 APPENDIX 8.10 HEVNER’S MOOD WHEEL........................................................................................576 APPENDIX 9.1 TYPES OF CLINICAL RELEVANCE OF MUSIC THERAPY RESEARCH ...............................577 APPENDIX 9.2 GROCKE’S CATEGORIES OF EXPERIENCE IN GIM ......................................................579 vii
Page 1: THE BONNY METHOD OF GUIDED IMAGERY
Page 4 and 5: Ph.D. student’ with me the last t
Page 8 and 9: viii
Page 10 and 11: TABLE 8. 4 EVENT STRUCTURE ANALYSIS
Page 12 and 13: xii
Page 14 and 15: xiv
Page 16 and 17: xvi
Page 18 and 19: As you will see there are many comm
Page 20 and 21: The participants in this study use
Page 22 and 23: Music in medicine The terminology o
Page 24 and 25: Music in medicine vs. Music therapy
Page 26 and 27: more likely a reaction to a cancer
Page 28 and 29: melanoma Boesen (2002) reviewed the
Page 30 and 31: test showed that there was less ten
Page 32 and 33: More general overviews of how music
Page 34 and 35: Table 2. 1 Literature on BMGIM and
Page 36 and 37: Populations include non-clinical/he
Page 38 and 39: McKinney 1990 University students M
Page 40 and 41: Table 2.2 shows that most of the st
Page 42 and 43: Facilitating peak experience Provin
Page 44 and 45: express and work on their experienc
Page 46 and 47: 2) locus of control (inner mastery
Page 48 and 49: in contrast to Burns’ study, the
Page 50 and 51: In Denmark two music therapists hav
Page 53 and 54: 3 Theoretical background 3.1 Introd
Page 55 and 56: metaphor influenced each other in o
Page 57 and 58:
is closely related to the body and
Page 59 and 60:
structures or patterns that “allo
Page 61 and 62:
explaining a phenomenon with other
Page 63 and 64:
Ricoeur agrees with Ernst Cassirer
Page 65 and 66:
“It appears as though certain fun
Page 67 and 68:
daily life myths and fairy tales ma
Page 69 and 70:
extent that it is organized after t
Page 71 and 72:
Table 3. 4 Three moments of mimesis
Page 73 and 74:
Thus, symbols and metaphors are the
Page 75 and 76:
4. Psychotherapy as humane care - r
Page 77 and 78:
I suggest the following working def
Page 79 and 80:
The scale of Klein et al. was not u
Page 81 and 82:
In a psychological perspective meta
Page 83 and 84:
3.5 Narratives in psychotherapy In
Page 85 and 86:
second category (analogous to ‘in
Page 87 and 88:
“There currently exist no consens
Page 89 and 90:
Table 3. 7 Mimesis 1-3 in narrative
Page 91 and 92:
3.6.1 Music as analogy A paper by D
Page 93 and 94:
Smeijsters has coined the double co
Page 95 and 96:
Table 3. 8 Musical elements interpr
Page 97 and 98:
function through its pre-existent s
Page 99 and 100:
end, motion and rest, tension and r
Page 101 and 102:
Lakoff and Johnson’s cognitive th
Page 103 and 104:
crying, or symbolized as falling ch
Page 105 and 106:
our analyses. For it is only by ope
Page 107 and 108:
Based on his study Jungaberle formu
Page 109 and 110:
and ending on dominant a - a new ro
Page 111 and 112:
cross is inevitable, and the music
Page 113 and 114:
is the instrumental Ground from Blo
Page 115 and 116:
therapists. Open and attentive list
Page 117 and 118:
closely related to basic human self
Page 119 and 120:
less elegant dance. My dance is a b
Page 121 and 122:
describes him or herself as ‘feel
Page 123 and 124:
asket and then lie down, tell about
Page 125 and 126:
Holocaust Shadow (Schulberg 1999),
Page 127 and 128:
Craftsmen are working The foundatio
Page 129 and 130:
series of actions and transformatio
Page 131 and 132:
References to examples in the BMGIM
Page 133 and 134:
“Sublime music tells in its own w
Page 135 and 136:
4. Methodology Following on from ch
Page 137 and 138:
trained in Aalborg is still indigen
Page 139 and 140:
3) The study has its starting point
Page 141 and 142:
material or intentional phenomenon,
Page 143 and 144:
can also be applied in multiple met
Page 145 and 146:
Table 4. 1 Basic information on the
Page 147 and 148:
• The preliminary conversation (a
Page 149 and 150:
One week before project start all p
Page 151 and 152:
Participants score each item on a 4
Page 153 and 154:
c) Audio recordings (mini-disc) of
Page 155 and 156:
• Specification (1. Sensitizing c
Page 157 and 158:
The imagery of the six participants
Page 159 and 160:
5. Results of the quantitative inve
Page 161 and 162:
The mean score of the group in depr
Page 163 and 164:
Table 5. 2 Effect sizes measured at
Page 165 and 166:
Figure 5. 5 QLQ-C30: Mean scores of
Page 167 and 168:
These results are variable, and onl
Page 169 and 170:
Statistical analysis of QLQ-C30 res
Page 171 and 172:
Figure 5. 9 SOC Mean scores from th
Page 173 and 174:
Figure 5. 11 SOC: Pre-test, post-te
Page 175 and 176:
Results - inferential statistics an
Page 177 and 178:
The results support hypothesis ten.
Page 179 and 180:
generalised further, was evidently
Page 181 and 182:
6. Results from the qualitative inv
Page 183 and 184:
Potential of GIM in other phases of
Page 185 and 186:
coding, where the categories are in
Page 187 and 188:
PIJØ: It has been very hard for me
Page 189 and 190:
how should it be, should there be m
Page 191 and 192:
changing. Participants described ho
Page 193 and 194:
IMPROVED UNDERSTANDING OF SELF (NEW
Page 195 and 196:
elated subcategories. Using specifi
Page 197 and 198:
D. In a few sessions the therapists
Page 199 and 200:
B1 Metaphorical investigations of t
Page 201 and 202:
imaging. This becomes even clearer
Page 203 and 204:
odily or meditative states. In cont
Page 205 and 206:
7. Two case studies. A mimetic anal
Page 207 and 208:
The two cases will be presented sep
Page 209 and 210:
In fig. 7.1 the therapist has given
Page 211 and 212:
the healing process and was a contr
Page 213 and 214:
say: ’We don’t want it to work
Page 215 and 216:
Level 3 Configuration is the core o
Page 217 and 218:
Trials and Tasks Observes a grey ar
Page 219 and 220:
pre-test level at follow-up, while
Page 221 and 222:
She knew that her own scores had no
Page 223 and 224:
In fig. 7.3 the therapist has given
Page 225 and 226:
eflections on the predominance of e
Page 227 and 228:
and I might as well accept it. Roge
Page 229 and 230:
childish, playful.” From an initi
Page 231 and 232:
solution through a message, and in
Page 233 and 234:
Figure 7. 4 INLAs QLQ-C30 scores, i
Page 235 and 236:
• the courage to confront dangers
Page 237 and 238:
e observed, also in this axis, that
Page 239 and 240:
’story line’ and writes a story
Page 241 and 242:
Table 7. 7 A grounded theory model
Page 243 and 244:
episodes dominated by (inner) body
Page 245 and 246:
8. Analysis of music and imagery Th
Page 247 and 248:
8.1.1 Qualitative music research In
Page 249 and 250:
This means that: Description is nev
Page 251 and 252:
methods intended for analysis of (p
Page 253 and 254:
following preparations: 1. Informat
Page 255 and 256:
An Eclectic Approach to the analysi
Page 257 and 258:
was used to investigate potential c
Page 259 and 260:
Figure 8. 2 The dynamic profile of
Page 261 and 262:
there was dialogue between solo ins
Page 263 and 264:
were used partially (in 35 sessions
Page 265 and 266:
Following the guidelines of HMA the
Page 267 and 268:
Figure 8. 4 Intensity Profile of Br
Page 269 and 270:
Figure 8. 5 The digitized waveform
Page 271 and 272:
for assessment. In this project the
Page 273 and 274:
score it is possible to see exactly
Page 275 and 276:
B2 (46-51) V/E Ot B3 (52-55) E Ot V
Page 277 and 278:
C2 (91-100) R R V/S V/E C3 (100-106
Page 279 and 280:
The analysis of the unfolding image
Page 281 and 282:
she only reports verbally that she
Page 283 and 284:
• The complete narrative, based o
Page 285 and 286:
an experience further before finish
Page 287 and 288:
Figure 8. 6 Intensity profile - Bac
Page 289 and 290:
This profile - or map of the’ inn
Page 291 and 292:
Table 8. 4 Event structure analysis
Page 293 and 294:
A5+t (14-16) B1+t (17-21) R S S R V
Page 295 and 296:
B5 (37-39) B6 (39-41) answered tona
Page 297 and 298:
V and irritated, not R wanting to s
Page 299 and 300:
ANHO: The client still has difficul
Page 301 and 302:
For the five of the six participant
Page 303 and 304:
• Analysis of the image potential
Page 305 and 306:
Text and music with accompaniment w
Page 307 and 308:
section of music that visually illu
Page 309 and 310:
intensity increasing feature is the
Page 311 and 312:
A1 (1-10) R/V E S/E B1 (11-21) R/V
Page 313 and 314:
B1 Mein Jesu A1 (1-6) V R E R S V A
Page 315 and 316:
B B3 (after music) E E S side? (tea
Page 317 and 318:
Jesu evoked images related to death
Page 319 and 320:
String Quartet as the most challeng
Page 321 and 322:
Figure 8. 12 Distribution of the th
Page 323 and 324:
Table 8. 7 A grounded theory model
Page 325 and 326:
the imagery: the client reacts with
Page 327 and 328:
9. Discussion “..Where the mind i
Page 329 and 330:
possible to show a decrease in both
Page 331 and 332:
9.1.3 The role of music and imagery
Page 333 and 334:
specific therapeutic influence in t
Page 335 and 336:
or measurable influence on the part
Page 337 and 338:
As these findings are not consisten
Page 339 and 340:
adiotherapy treatment. These commen
Page 341 and 342:
this study (the only exception bein
Page 343 and 344:
and why they are comprehensible and
Page 345 and 346:
was that core images did emerge and
Page 347 and 348:
actually no alternative to “will
Page 349 and 350:
9.2.3.3 The proposed grounded theor
Page 351 and 352:
This leads to the critical question
Page 353 and 354:
The proposed grounded theories cove
Page 355 and 356:
eautiful room with candles, flowers
Page 357 and 358:
eventual climaxes and peak points c
Page 359 and 360:
The three categories illustrated in
Page 361 and 362:
scores are influenced by my negativ
Page 363 and 364:
9.4 The development of new theoreti
Page 365 and 366:
9.4.2 Heuristic music analysis as c
Page 367 and 368:
client’s playing in improvisation
Page 369 and 370:
Anxiety and anger are very importan
Page 371 and 372:
Bonny found that the musical elemen
Page 373 and 374:
support and explain how BMGIM can b
Page 375 and 376:
9.6 Directions for future research
Page 377 and 378:
comparative analysis including a nu
Page 379 and 380:
music listening has been substantia
Page 381 and 382:
What elements are there that descri
Page 383 and 384:
1) Can ten BMGIM sessions improve t
Page 385 and 386:
After every session questionnaires
Page 387 and 388:
The analyses of metaphors and image
Page 389 and 390:
not be sufficient to saturate a sub
Page 391 and 392:
hvordan BMGIM kan have en positiv v
Page 393 and 394:
individuelle BMGIM-sessioner, som r
Page 395 and 396:
C30-scores viste stigninger i genne
Page 397 and 398:
• Heuristisk Musikanalyse (Brusci
Page 399 and 400:
som velegnet til psykosociale under
Page 401 and 402:
REFERENCES (2002). Appendix B: Musi
Page 403 and 404:
Ansdell, G. (2001). Musicology: mis
Page 405 and 406:
Bonde, L. O. (2002). Introduction t
Page 407 and 408:
Bonny, H. L. and L. K. Marids (2001
Page 409 and 410:
Clark, M. (1998). The Bonny Method
Page 411 and 412:
Ferguson, D. N. (1960). Music as Me
Page 413 and 414:
Hilliard, R. E. (2002). The effects
Page 415 and 416:
Keiser, L. H. (1986). Conscious Lis
Page 417 and 418:
Mahns, W. (1998). Symbolbildungen i
Page 419 and 420:
Munro, S. (1993). "Music therapy in
Page 421 and 422:
Robbins, C. and C. Robbins (1991).
Page 423 and 424:
Short, A. E. (1997). "Jungian arche
Page 425 and 426:
Tüpker, R. (1988). Ich singe was i
Page 427 and 428:
Zachariae, B. (1997). "Forestilling
Page 429 and 430:
LIST OF APPENDICES LIST OF APPENDIC
Page 431 and 432:
Appendix 4.1 Data on six participan
Page 433 and 434:
ESMA: 65 years old, married, three
Page 435 and 436:
Appendix 4.2 Patientinformation (in
Page 437 and 438:
Appendix 4.3 The HADS questionnaire
Page 439 and 440:
Spørgs - mål nr. Vælg ét svar f
Page 441 and 442:
Appendix 4.4 The EORTC QLQ-C30 ques
Page 443 and 444:
427
Page 445 and 446:
Fig. 5.14 ESMAs QLQ profile 120 100
Page 447 and 448:
Fig. 5.18 WIFUs QLQ profile 120 100
Page 449 and 450:
Appendix 6.2 Illustration of the de
Page 451 and 452:
435
Page 453 and 454:
henføre dem entydigt til noget som
Page 455 and 456:
Ja. Hvert eneste gang har det være
Page 457 and 458:
Det er meget rigtigt. Jeg har jo ik
Page 459 and 460:
omgangshøjde endnu. Det er 2-3 år
Page 461 and 462:
Ham ville jeg godt hilsen velkommen
Page 463 and 464:
them out. Questionnaires like these
Page 465 and 466:
it is the music! No, it is not only
Page 467 and 468:
Maybe it influences me so strongly
Page 469 and 470:
the music should be different. (…
Page 471 and 472:
[Are there other images that you…
Page 473 and 474:
Ja det tror jeg. Hvor er det lige j
Page 475 and 476:
drømme jo også - de kommer også
Page 477 and 478:
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 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 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 and 588:
Page 589 and 590:
Page 591 and 592:
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
show all

Dissertation - World Federation of Music Therapy

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?