Dissertation - World Federation of Music Therapy

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of “selfing”, of narrating experience to create a modern self, where as the Me may be viewed as the self that the I constructs.” (McAdams 1996, p. 295). He also delineates three relatively independent levels on which modern persons may be described. Level I is the domain of personality traits (as defined in the broad categories of the ‘Big Five’ taxonomy: extraversion, neuroticism, conscientiousness, agreeableness, and openness to change). Level II subsumes contextualising developmental concerns like goals, values and coping strategies. Level III is the psychosocial configuration of the Me, a person’s reflexive project as is it appears in the narrative of a “life story”: A life story is a psychosocial construction that constitute identity, an “internalized and evolving narrative of the self that incorporates the reconstructed past, perceived present and anticipated future.” (p. 307) Based on the analysis of more than 200 life story interviews McAdams (1996, p. 308- 309) suggested that the structure and content of adult life stories might be understood in terms of seven features: • Narrative tone: a basic attitude, like pessimistic, optimistic or ironic. • Imagery: the choice of specific images and metaphors to describe an experience • Theme: goal-directed sequences in the narrative, like agency and communion • Ideological setting: the establishment of some sort of moral stance (the “good”) • Nuclear episodes: scenes that stand out as high or low points, turning points etc. • Imagoes: idealized personifications of the self in the narrative (‘little Mes’) • Endings (The generativity script): an ending should produce new beginnings, and a legacy of the self should be offered to subsequent generations. The psychosocial functions the life story are integration (the temporal integration of the Me), entertainment (of self and others), and (pedagogical or moral) instruction. The life story changes over time in three broad phases: 1) the prenarrative era of childhood and adolescence is used to gather material; 2) the narrative era of young to mature adulthood is used to create a self-defining story (including the seven features mentioned above); 3) the postnarrative era is used to evaluate the life story, leading to either (in Erikson’s terms) integrity or despair. McAdams suggested that modern, or postmodern, “people are working on their life stories throughout most of their healthy adult years.” (p. 312) 70
“There currently exist no consensually validated taxonomies of life stories for modern adults.” (p. 313) However, McAdams mentions that life stories may be classified in the same schemes as found in narrative theory (cf. section 3.3.1) 25 : • The Hero’s myth • The mythic archetypes of comedy, romance, tragedy and irony • The five archetypal actions of establishing a home, fighting a battle, taking a journey, enduring suffering, pursuing consummation • The four ontologies of the self: the dynastic form (positive past -> positive present), the antithetical form (negative past -> positive present), compensatory form (positive past -> negative present), and self-absolutory form (negative past -> negative present) • The three life narrative processes of progress, regress, and stability • The commitment story: the protagonist with special gift or mission that guides the behaviour through the life span. A meaningful life story contributes to mental health, and McAdams suggests six standards of a good life story form (p. 315): • coherence: the story must make sense on its own terms • openness: not one solution, but several opportunities for action can be found • credibility: the story is accountable to known facts • differentiation: the world of the story is complex and has a rich plot • reconciliation: examples of harmonizing or resolving conflicts are given • generative integration: the personal story is related to a larger social context McAdams agrees with Spence that ‘narrative truth’ seems to be more important in psychotherapy than ‘historical truth’, even if it is not enough to guarantee mental health (p. 314) He also mentions that coherence of the life story in psychotherapy is obtained through a plot line in an aesthetic pleasing form. This leads us, once again, back to Ricoeur. 25 McAdams’ references include Campbell 1949 (Hero’s myth), Frye 1957 (the mythic archetype), Elsbree 1982 (the archetypal actions), Hankiss 1981 (the ontologies of the self), Gergen and Gergen 1986 (life narrative processes) and McAdams 1985 and 1993 (the commitment story). 71
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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
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
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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
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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: second category (analogous to ‘in
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
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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
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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
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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
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#6 3.1.03 Disc OK #7 14.1 Has felt
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#9 20.02. Disc OK #10 5.3. Disc OK
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Appendix 8.2.2a Session notes INLA
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#5 3.1.03 Disc OK #6 15.1. Disc OK
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#8 24.02. Disc OK #9 17.03 Til US b
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Appendix 8.2.2b Session notes INLA
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#5 3.1.03 Disc OK #6 15.1. Review o
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#8 24.02. Disc OK Control examinati
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FOCUS: Finding a way out... a door.
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#3 13.11. Disc OK #4 21.11 Disc: ku
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#7 19.12. Dis OK #8 30.1. Ingen opt
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Appendix 8.2.4 Session notes ANHO (
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Disc OK #6 7.1.03 Ingen optagels e
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# 10 31.03 Disc OK hul igennem. For
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OK #4 3.12 Disc OK #5 19.12. Disc O
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Disc OK #10 17.03. Disc OK Andre ha
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#3 19.11 Disc OK #4 28.11. Disc OK
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Disc OK #9 11.3. Disc OK Lang snak
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557
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Appendix 7.4 MINI-WORKSHOP - RESEAR
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Appendix 8.5 Brahms Score + Imagery
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• The movement is basically suppo
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Appendix 8.7 Bach: Komm süsser Tod
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Appendix 8.9 Analysis of selected m
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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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