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

legs restricted by hemiparesis of the right arm. She has
the ability to use facial expression gesture including
hand grassing. She also uses vocalisations although no
real verbal language in the traditional sense. Kate
appears to be quite alert with a meaningful gaze wich
will track familiar people ana selected activities.
WHY THIS PATIENT? Why did I choose to work with this
patient instead of the multitude of others seemed that
this patient was asking - crying out tor help. Those initial
screams Of extreme distress that first drew me to Kate
's bedside were tangible and intermittentlv recurring
reminders of the horror of her condition. Her injury nad
been caused by a medical accident and this made it
more difficult for family and carers to accept her
condition. Staff made themselves available to discuss
Kate 's case with me and were very pleased that I could
devote some time to her.
536
However. ít was clear that my decision to work with Kate
was certainly not a purely academic one. The effect that
the first of her screams had had remains.
MAINTAINING
SEPARATION:
A PROFESSIONAL
Around the third and fourth month of therapy with Kate I
found myself wondering where the music tnerapy
sessions were heading. The major aim of my work with
Kate was always directed towards opening the channels
of comunication practically. I was continuing to try to
develop and provide opportunities for some basic
exchanges. for example: turn taking passing
instruments. responses to my music making. trying to
foster " attunement " using Daniel Stern s term for
motner-infant interaction. (Stern 1977 ) I was continuing
to experiment. to offer new experiences and to explore