23.7. 1993 Vitoria-Gasteiz / Spain - World Federation of Music Therapy

Extracts 3 and 4 Session 8, February 19, 1992
DAWNING AWARENESS OF SHARED MUSICAL
COMMUNICATION
1. 'open-ended' muBic~ using wholetone scale at
first, so no perfect cadences to arrest ùon-goingness-
2. therapist matches timbre of drum/cymbal to
enhance symbiosis
3. therapist varies matching or mis-matching his
beat, reflecting his changes in pulse, and seeking not to
be too closely matching his playing all the time. Note:
Steven initiates a beat; he also follows a quaver
movement (evoked level of musical awareness); then
follows an accelerando with more conscious
enjoyment/excitement.
4. silences increase self-awareness/self-other
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awareness within the music-making - also serve to
modulate arousal states.
5. Steven's attention and involvement is sustained
(at varying levels) for 4 minutes of shared, co-operative
play.
6. Note: his glances to the door, indicating need for
withdrawal period, but he overcomes this through his
musical involvement.
Extract 5a Session 8, February 19, 1992
FURTHER EXPERIENCE OF SHARED PLAYING
IN CLOSER PHYSICAL PROXIMITY
1. Simple, sparse melodic line - non-threatening and
on-going, yet offering space for Steven's responses
2. beginnings of turn-taking; he joins in in tempo