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E-Book of Articles - World Federation of Music Therapy

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Raglio, Alfredo: Qualitative Research<br />

T3 (HIGH) = interaction with the therapist in order to establish<br />

communication<br />

I/O = relation with objects and instruments<br />

I/O1 (LOW) = visual contact with instruments/objects<br />

I/O2 (MEDIUM) = listening or exploration <strong>of</strong> instruments/objects<br />

I/O3 (HIGH) = use <strong>of</strong> instruments/objects in order to establish<br />

communication<br />

We have developed a watching protocol (Protocol A) in order to quantify the<br />

moments identified by Stern as part <strong>of</strong> the intersubjective relationship (co-<br />

participation <strong>of</strong> attention, intentions and emotions) and to analyze these<br />

moments from the point <strong>of</strong> view <strong>of</strong> the direct relationship <strong>of</strong> the patient<br />

with the therapist (T) or the relationship <strong>of</strong> the patient through the<br />

instruments (I).<br />

The co-participation <strong>of</strong> the attention may be considered as a first-intensity<br />

level <strong>of</strong> the direct relationship with the music therapist (T1) and/or through<br />

the instruments (I1): this implies a visual contact <strong>of</strong> the patient with the<br />

instruments and/or the music therapist; the co-participation <strong>of</strong> the<br />

intentions is equivalent to a second intensity level (T2, I2) and it means a<br />

bodily approach to the music therapist and/or listening or exploring the<br />

instruments; the co-participation <strong>of</strong> the emotions (precisely with the tuning-<br />

in) is considered as a third-intensity level and it assumes an interaction with<br />

the aim <strong>of</strong> communicating with the therapist and/or the use <strong>of</strong> instruments<br />

with a communication purpose.<br />

During the sessions we collected numeric data, for each patient, and we<br />

quantified the moments <strong>of</strong> relationship T and I based on their intensity.<br />

The Protocols B, C and D put in evidence the sound-music data.<br />

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