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

Still thinking about his hearing problems, though, I
would play loudly, at the same time being aware that the
piano's vibrations are less numerous than those of the
percussion instruments.
These minimal strikes on the ground with his hand
make their appearance now and form the most
fundamental indications of a possible mutuality for the
months that follow.
Apart from these strikes, the following year brought
nothing essentially new. Sometimes he was in turmoil
and anxiety, but never in such dramatic desperation as
in the first five months. Most of the time he was
withdrawn.
As from February '91, I decided to respond to Emilio as
to a normal-hearing person. Ever since, the music
created has been channelled into an attempt to reflect
the colours, shades and complexity of his affective
61
condition.
In October '91, two years after our first meeting, the
sessions were increased to twice a week. The beatings
on the floor still remain the most fundamental
indications of his co-existence.
The movements through his body assume now a
different form. They appear concentrated within a
concise intensity. It seems to me that he is forming a
bodylanguage repertoire. To this I respond, phrase by
phrase, both in its affective and in its descriptive
content.
For example, in the following extract, taken from the
session of 8 January '92, Emilio begins with a thrust of
his body forwards and a movement of his hand forwards