E-Book of Articles - World Federation of Music Therapy

Conclusions
D'ulisse, M. E.. et al.: Application Of The Benenzon Music Therapy ...
We can summarize the change in behavior and nervous movements of
the three patients by the end of the music therapy treatment in two
observations: musical and sound production and relationship with the space.
In addition, beyond the obvious individual differences, we will
indicate what characterized the change in sound production by the three
patients, which was accomplished through:
- increased rhythmic articulation. There was a gradual passage from an
obstinate binary production to more complex rhythmic cells (triplets, binary
rhythms);
- connections between rhythm and movement. The appearance of dance
rhythms and the functional use of music (they beat time as they danced or
played to induce dancing);
- increased aleatory in the rhythmic/melodic production;
- the appearance of moments of silence, pauses, at first declared
intolerable;
- the unconventional use of instruments, as integrated objects (thrown,
exchanged, strummed together).
This last point is closely linked with the actions of the group in the
freer space in the management of the defense of the personal/individual
kinesphere; the appearance of dance movements, the exchange of
instruments, the experimentation with the sounds of the room (beating on
the furniture and walls).
In our opinion, all these observations agree with the general
consideration of the benefit the patient affected by essential hypertension
can derive from the use of a structured setting as “permissive”, facilitating
free expression and a therapeutic relationship that is gratifying and not
dominating.
This work was characterized by “systematic observation”, in the
sense that all the empirical operations were essentially repeatable and it
represents a premise for successive experiment. By this we mean that
music therapy treatment, when determined environmental conditions are
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