Dissertation - World Federation of Music Therapy

LIST OF TABLES
TABLE 2. 1 LITERATURE ON BMGIM AND GMI WITH MEDICAL POPULATIONS......................................18
TABLE 2. 2 EMPIRICAL STUDIES OF EFFECTS OF BMGIM (CLASSICAL OR MODIFIED) ON PSYCHOLOGICAL
OR PHYSIOLOGICAL VARIABLES .....................................................................................................21
TABLE 2. 3LITERATURE ON BMGIM IN ADULT CANCER CARE ...............................................................25
TABLE 3. 1 FIGURES OF SPEECH. (DESCRIPTIONS ADAPTED FROM COMPTON’S DICTIONARY) ................39
TABLE 3. 2 PROPP’S ACTANT MODEL ILLUSTRATED BY THE FAIRY TALE OF CINDERELLA:.....................50
TABLE 3. 3 NARRATOR’S MODEL – INTENSITY PROFILE..........................................................................51
TABLE 3. 4 THREE MOMENTS OF MIMESIS (AFTER RICOEUR 1984)..........................................................55
TABLE 3. 5 ROOT METAPHORS IN PSYCHOTHERAPY ................................................................................58
TABLE 3. 6 THE EXPERIENCING SCALE (KLEIN ET AL 1986) ...................................................................62
TABLE 3. 7 MIMESIS 1-3 IN NARRATIVES AND IN PSYCHOTHERAPY ........................................................73
TABLE 3. 8 MUSICAL ELEMENTS INTERPRETED AS METAPHORS (AFTER BRUSCIA 1994).........................79
TABLE 3. 9 IMAGE, METAPHORS, SYMBOLS IN BMGIM. EXAMPLES AND DEFINITIONS ........................102
TABLE 3. 10 A COMPLETE BMGIM NARRATIVE...................................................................................113
TABLE 4. 1 BASIC INFORMATION ON THE SIX PARTICIPANTS .................................................................129
TABLE 5. 1 WILCOXON MATCHED PAIRS TEST: COMPARISON OF PRE-TEST SCORES WITH POST-TEST
SCORES AND FOLLOW-UP SCORES IN BOTH HADS DOMAINS .......................................................146
TABLE 5. 2 EFFECT SIZES MEASURED AT POST-TEST AND FOLLOW-UP IN BOTH HADS DOMAINS .........147
TABLE 5. 3 SOC RAW SCORES AND STANDARD DEVIATIONS AT PRE-TEST, POST-TEST AND FOLLOW-UP.
....................................................................................................................................................153
TABLE 5. 4 WILCOXON MATCHED PAIRS TEST: COMPARISON OF PRE-TEST SCORES WITH POST-TEST
SCORES AND FOLLOW-UP SCORES IN SOC....................................................................................159
TABLE 5. 5 EFFECT SIZES MEASURED AT POST-TEST AND FOLLOW-UP FOR TOTAL SOC SCORES...........159
TABLE 5. 6 RESPONSES TO MUSIC THERAPY QUESTIONS: SESSIONS 2-10 ..............................................160
TABLE 5. 7 RESPONSES TO MUSIC THERAPY QUESTIONS: FOLLOW-UP ..................................................160
TABLE 6. 1 CHECKLIST PROVIDING INFORMATION ON KEY ISSUES ADDRESSED IN THE INTERVIEWS .....166
TABLE 6. 2 INDIVIDUAL STATEMENTS OF THE PARTICIPANTS GROUPED WITHIN CORE CATEGORIES......169
TABLE 6. 3 ELABORATE DESCRIPTION OF CORE CATEGORIES................................................................174
TABLE 6. 4 CORE CATEGORIES IDENTIFIED IN AXIAL CODING AND PARTICIPANTS’ CONTRIBUTIONS.....176
TABLE 6. 5 CORE CATEGORIES DESCRIBING COMPLETE MUSIC-LISTENING PERIODS..............................180
TABLE 6. 6 DESCRIPTIONS OF CORE CATEGORIES..................................................................................180
TABLE 6. 7 SUBCATEGORIES DESCRIBING SEGMENTS OR EPISODES OF A MUSIC-LISTENING PERIOD......181
TABLE 6. 8 DESCRIPTIONS OF SUBCATEGORIES.....................................................................................182
TABLE 6. 9 DISTRIBUTION OF CORE CATEGORIES BY PARTICIPANTS AND SESSIONS ..............................184
TABLE 6. 10 DISTRIBUTION OF SUBCATEGORIES BY PARTICIPANTS AND SESSIONS................................185
TABLE 7. 1 PIJØ’S COMMENTS ON METAPHORS AND NARRATIVES........................................................196
TABLE 7. 2 ONE COMPLETE NARRATIVE................................................................................................200
TABLE 7. 3 PIJØS SCORES IN THE QUESTIONNAIRES..............................................................................202
TABLE 7. 4 INLAS COMMENTS ON METAPHORS AND NARRATIVES .......................................................209
TABLE 7. 5 INLA’S SCORES IN THE QUESTIONNAIRES...........................................................................216
TABLE 7. 6 A GROUNDED THEORY MODEL OF DEVELOPMENTAL STEPS IN THE THERAPEUTIC BMGIM
PROCESS, BASED ON ANALYSIS OF INTERVIEWS WITH 6 PARTICIPANTS. .......................................223
TABLE 7. 7 A GROUNDED THEORY MODEL OF STEP 1 IN THE THERAPEUTIC BMGIM PROCESS.............225
TABLE 7. 8 A GROUNDED THEORY PROPOSAL OF IMAGE CONFIGURATION TYPES FOUND IN THE
THERAPEUTIC BMGIM PROCESS, BASED ON THE ANALYSIS OF 6 PARTICIPANTS’ MUSIC-LISTENING
PERIODS. ......................................................................................................................................226
TABLE 8. 1 PHENOMENOLOGICAL DESCRIPTION OF THE BRAHMS MOVEMENT......................................249
TABLE 8. 2 EVENT STRUCTURE ANALYSIS. BRAHMS VIOLIN CONCERTO IN D, 2ND MOVEMENT .............258
TABLE 8. 3 PHENOMENOLOGICAL DESCRIPTION. J.S. BACH: DOUBLE CONCERTO, 2ND MOVEMENT....269
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