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

y the person that interested me, and the effect of this
deep-felt musical I involvement upon the physical
condition. The more involved the person was, the more
intent their participation, then the more they seemed to
be liberated from the PD. I identified six areas of
response to the co-improvised music (SLIDE 6) and
produced three short case studies at the end of the 12
.sessions of individual music therapy. The three people
taking part contributed by a final questionnaire and
through informal discussion before and after each
session. It was agreed that I record each session on
audio cassette and at two points video recordings were
made, with all recordings available to client and
therapist. The conclusions from this project are
summarised in my final report thus:
". . . that rnusic therapy is of value and importance was
seen clearly through the readiness and variety with
which each participant responded.
672
"On one level, the very "ongoing" nature of music
(existing in time and through time) and the "holding",
stabilising effect of structured music have much to offer
the person with PD: co-ordinated movements (such as
walking) - when set to music - become fluent and less
likely to break down. On another, deeper level, music
improvised for the person, with the person, can directly
address the emotional state, This supports meaningful
expression of feelings that may be directly or indirectly
related to the PD. These very feelings are often
channelled through what might be considered by some
as a "negative" aspect of the condition; for instance,
when tremor becomes an integral part of the music, it
also becomes creative, and "positive".
Actively involved in music-making and engaged by the
music, thee person's attention is focused primarily on
the music. The physical manifestations of PD become
part of the music and as thus are accepted. The more
involved the person is in the music and the more the