Microanalysis in music therapy: methods, techniques and applications for clinicians, researchers, educators and students
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
London [u.a.]
Kingsley
2007
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Hier auch später erschienene, unveränderte Nachdrucke |
| Beschreibung: | 328 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9781843104698 |
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| adam_text | Contents
FOREWORD BY BARBARA L. WHEELER 11
Chapter 1 Microanalysis in Music Therapy: Introduction and
Theoretical Basis 13
Thomas Wosch, University of Applied Sciences, Wuerzburg and Schweinfurt,
Germany and Tony Wigram, Aalborg University, Denmark
Part One: Video Microanalyses
Chapter 2 An Ethnographic Descriptive Approach to Video Microanalysis 29
Ulla Hoick, Aalborg University, Denmark
Chapter 3 Microanalysis of Preverbal Communication in Music Therapy 41
Christine Plahl, University of Applied Sciences, Munich, Germany
Chapter 4 Microanalysis on Selected Video Clips with Focus on
Communicative Response in Music Therapy 54
Hanne Alette Ridder, Aalborg University, Denmark
Chapter 5 Microanalysis of Interaction in Music Therapy (MIMT) with
Children with Developmental Disorders 67
Julia Scholtz, Universitdtsklinik, Dresden, Germany, Melanie Voigt, Kinderzentrum
Munchen, Germany and Thomas Wosch
Chapter 6 The AQR instrument (Assessment of the Quality of
Relationship) An Observation Instrument to Assess
the Quality of a Relationship 79
Karin Schumacher, University of Arts, Berlin, Germany and Claudine Calvet,
University of Arts, Berlin, Germany
Chapter 7 The Use of Improvisation Assessment Profiles (IAPs)
and RepGrid in Microanalysis of Clinical Music
Improvisation 92
Brian Abrams, Immaculata University, US
Part Two: Music Microandlyses
Chapter 8 Using Voice Analysis Software to Analyse the Sung
and Spoken Voice 107
Felicity Baker, University of Queensland, Australia
Chapter 9 Analysis of Notated Music Examples Selected from
Improvisations of Psychotic Patients 120
Jos De Backer, College of Science and Art, Leuven, Belgium and Tony Wigratn
Chapter 10 Music Therapy Toolbox (MTTB) An Improvisation
Analysis Tool for Clinicians and Researchers 134
Jddkko Erkkild, University ofjyvdskyld, Finland
Chapter 11 A Structural Model of Music Analysis 149
Denise Grocke, University of Melbourne, Australia
Chapter 12 Microanalysis of Emotional Experience and Interaction in
Single Sequences of Active Improvisatory Music Therapy 162
UteAA. Inselmann, University ofWuzburg, Germany
Chapter 13 The Music Interaction Rating Scale (Schizophrenia) (MIR(S))
Microanalysis of Co improvisation in Music Therapy with
Adults Suffering from Chronic Schizophrenia 174
Mercedes Pavlicevic, Nordoff Robbins Music Therapy Centre, UK
Chapter 14 The Use of Micro musical Analysis and Conversation
Analysis of Improvisation: The Invisible Handshake
Free Musical Improvisation as Conversation 186
Julie Sutton, Centre for Psychotherapy, Belfast, Northern Ireland
Chapter 15 A Phenomenologically Inspired Approach to Microanalyses
of Improvisation in Music Therapy 198
Gro Trondalen, Norwegian Academy of Music, Oslo, Norway
Chapter 16 Event based Analysis of Improvisations Using the
Improvisation Assessment Profiles (IAPs) 211
Tony Wigram
Chapter 17 Measurement of Emotional Transitions in Clinical
Improvisations with EQ_26.5 227
Thomas Wbsch
Chapter 18 Microanalysis of Processes of Interactions in Clinical
Improvisation with IAP Autonomy 241
Thomas Wosch
Chapter 19 Steps in Researching the Music in Therapy 255
Lars Ole Bonde, Aalborg University, Denmark
Part Three: Text Microanalyses
Chapter 20 Understanding Music Therapy Experiences Through
Interviewing: A Phenomenological Microanalysis 273
Katrina McFerran, University of Melbourne, Australia and Denise Grocke
Chapter 21 Text Analysis Method for Micro Processes (TAMP)
of Single Music Therapy Sessions 285
Kerstin Ortlieb, University of Applied Sciences, Magdebury and Stendal, Germany,
Maria Sembdner, Otto von Guericke University, Magdeburg, Germany, Thomas Wosch
andjorg Frommer, Otto von Guericke University, Magdeburg, Germany
Chapter 22 Microanalysis in Music Therapy: A Comparison of Different
Models and Methods and their Application in Clinical
Practice, Research and Teaching Music Therapy 298
Tony Wigram and Thomas Wosch
LIST OF CONTRIBUTORS 317
SUBJECT INDEX 321
AUTHOR INDEX 327
List of Figures
2.1 An example of video recordings from two angles 31
2.2 Section of transcription with (playing) movements and facial expressions placed in relation
to musical notation 3 3
2.3 Two polarities in the boy s participation in the interplay 38
3.1 Interaction graph showing interaction patterns in a music therapy improvisation 47
3.2 Interaction patterns in the ninth music therapy session with T 49
4.1 How to plot the session graph in an Excel spreadsheet (screenshot) 58
4.2 Session graph, Mrs E 63
8.1 Uploading a wave file into Multi Speech™ 112
8.2 Adjusting the duration display 113
8.3 Pitch contour of Craig s singing 113
8.4 Trimming the data in Multi Speech™ 114
8.5 Adjusting the frequency display 114
8.6 Applying pitch smoothing 115
8.7 Statistical data from audio sample 116
8.8 Results of analysis for speech contained in two audio files 117
8.9 Software displays for analysis of slope 118
9.1 Criteria of Sensorial Play (CoSP) 123
9.2 Example of selection of video excerpts from the patient s sessions 125
9.3 Score of excerpt 129
10.1 A schematic representation of the method for obtaining a system for automated
analysis of improvisations 136
10.2 The whole improvisation as the MTTB notation 141
10.3 Sequence 1 as the MTTB notation 142
10.4 Sequence 5 as the MTTB notation 144
10.5 Sequence 6 as tthe MTTB notation 145
10.6 An example of the imitation diagram 146
13.1 Hypothetical example of 60 seconds co improvisation showing how four moments
of change (Me) delineate the 10 time units and the MIR(S) levels 178
13.2 Index sheet 182
14.1 Structure of Stockhausen Parker 4 with reference to silences 190
16.1 Event based analysis (EBA) raw score sheet 217
16.2 lAPs raw score table 220
16.3 Ben s analysis scores for the Autonomy profile, Improvisation 1 221
16.4 Ben s analysis scores for the Variability profile, Improvisation 1 221
16.5 Ben s analysis scores for the Autonomy profile. Improvisation 2 222
166 Ben s analysis scores for the Variability profile, Improvisation 2 222
16.7 Summary IAP for a case example Ben 223
17.1 System of emotions in music therapy 229
172 Emotions Questionnaire 26.5 (EQ26.5) 231
173 Course of emotions in a clinical improvisation 235
181 Additional score signs 246
182 Microanalysis TAP Autonomy table 248
183 Musical interaction profile 251
191 How to make a qualified and explicit choice of method 256
19 2 Playback demonstration of the music charting Music Imaging Analysis (Mia) 268
193 Intensity profile of rhosymedre made by using the mia program 268
19.4 Musical notation/transcription of Example 2 using the Sibelius program 268
19.5 Intensity Profile of Example 2 using the Mia charting program 269
22.1 Differentiation of video, music and text microanalysis 313
22.2 Simplified decision tree for using different microanalyses 314
List of Tables
1.1 Differentiation of methods of microanalysis in music therapy in this book 23
2.1 A correlation of the process of the analysis with the results 37
3.1 Communication categories of the music therapist 44
3.2 Communication categories of the child 45
4.1 Analysis form 60
4.2 Analyst follows Steps 4.1 4.4 in the video analysis of Mrs E 65
5.1 Category system of observation 71
5.2 Classification of proportional distribution of behaviour 72
5.3 Classification of behaviour frequency results to interaction qualities 75
6.1 Specific characteristics of the instrumental quality of relationship (IQR scale) 83
6.2 Specific characteristics of the vocal pre speech quality of relationship (VQR scale) 84
6.3 Specific characteristics of the physical emotional quality of relationship (PEQR scale) 85
6.4 Specific characteristics of the therapeutic quality of relationship (TQR scale) 87
7.1 IAP profiles and scales 93
8.1 Components of intonation contours 108
8.2 Intonation characteristics for basic emotions 109
10.1 Summary of the most salient MTTB contents in sequence 1 142
10.2 Summary of the most salient MTTB contents in sequence 5 143
10.3 Summary of the most salient MTTB contents in sequence 6 144
11.1 A Structural Model for Music Analysis (SMMA) 150
11.2 Parallel analysis of music and imagery 15 5
12.1 Process of external ratings of musical improvisations (and self ratings) within one session
of psychoanalytically orientated improvisatory music therapy for one female patient 170
13.1 Distribution of 10 TUs across MIR(S) levels 1 9 179
13.2 Number of seconds per segment, at each MIR(S) level 181
13.3 Proportion of total time per MIR(S) level 181
13.4 Allocation of TUs and calculation of global score 184
14.1 Stockhausen Parker 4 motivic events immediately before and after each silence 191
14.2 Examples of types of hesitation pause in Stockhausen Parker duets 193
18.1 Basis and modifications of IAPs 244
19.1 Collated description of music (syntax) and imagery (semantics) 264
22.1 General clinical areas represented through the case examples in each chapter 300
22.2 The function of the microanalysis in relation to clinical practice 303
22.3 Dependent measures or criteria used in microanalysis by chapter 306
22.4 Forms of data collection, representation and documentation tools by chapter 308
22.5 Research versus clinical uses of the microanalysis tools by chapter 310
List of Boxes
19.1 Quantitative model for the rating of musical elements and dimensions 263
19.2 Further observations on syntax and semantics 265
19.3 A verbal description and interpretation of one improvisation segment 267
List of Web based Resources
A3.1 Improvisation from case example (music therapist: treble clef; child: bass clef)
A4.1 Excel session graph
A4.2 How to plot the session graph in an Excel spreadsheet
A4.3 Analysis form
A4.4 Session graph
A5.1 Glossary: observation of behaviour
A5.2 Case example table for video analysis documentation
A5.3 Modified categories IAP
A5.4 Case example: table of observations
A5.5 Gaze: child
A5.6 Gestures and movement activity: child
A5.7 Guidelines for carrying out the video analysis in MIMT
A6.1 Dimensions of the development of the premature and newborn after birth
A6.2 Stern s revised concept of self
A7.1 Grid data, improvisation segment 1
A7.2 Grid data, improvisation segment 2
A7.3 Grid data, improvisation segment 3
A7.4 PrinGrid display, improvisation segment 1
A7.5 PrinGrid display, improvisation segment 2
A7.6 PrinGrid display, improvisation segment 3
A7.7 Case example
A8.1 Analysis of sentence I feel happy today
A8.2 Analysis of sentence I feel sad today
A8.3 Analysis of sentence I feel afraid today
A9.1 Musical form in a music therapeutic context
A9.2 Further categories of criteria of Sensorial Play
A9.3 Noted scores of exerpts and a description of the musical elements
A9.4 Aspects of the score
A 10.1 Sequence 1 as the MTTB notation
A 10.2 Sequence 5 as the MTTB notation
A10.3 Sequence 6 as the MTTB notation
Al 1.1 Bonnys list of music elements relevant to the BMGIM music programs
Al 1.2 Analysis of the slow movement of Bethoven s Symphony no. 9 (adagio molto) using the SMM
A 12.1 Method
A13.1 Musical Rating Scales (MIR(S))
A15.1 A comparison of phenomenologically inspired approaches to analyses of music (inspired by Ferrara
1984, 1991)
A15.2 Intensity profile of the whole improvisation
A15.3 Improvisation
A 17.1 Listening example 1
A17.2a Cluster analysis 1
A17.2b Dendogram 1
A17.3a Listening example 1, histogram, part 1
A 17.3b Listening example 1, histogram, part 2
A17.3c Listening example 1, histogram, part 3
A17.4 Table of emotion profile, clinical improvisation 1 (listening example 1)
A17.5 Listening example 2
A17.6a Cluster analysis 2
A 17.6b Dendogram 2
A17.7a Listening example 2, histogram, part 1
A17.7b Listening example 2, histogram, part 2
A17.7c Listening example 2, histogram, part 3
A17.7d Listening example 2, histogram, part 4
A17.8 Table of emotions, listening example 2
A 17.9 Emotion profile, clinical improvisation 12 (listening example 2)
A18.1 Score of first bars of clinical improvisation 1
A 18.2 Rhythmic ground autonomy category
A18.3 IAP Autonomy/interaction listening example 1
A18.4 Verbal description of the musical process
A18.5 Score of last bars of clinical improvisation 1 (listening example 1)
A19.1 The spectrum of music analysis
A19.2 Glossary
A20.1 Case example
A21.1a Summarised table of motifs 1
A21.1b Summarised table of motifs listed according to Pre Text
A21.1c Summarised table of motifs listed according to Improvisation
A21.1d Summarised table of motifs listed according to Post Text
A21.2a Ranking table 1
A21.2b Ranking table 2 ]
A21.2c Ranking table 3
A21.3a Client s table
A21.3b Client ranking table
A21.4 Motif IV: Relaxation Well being (example of a table of categories)
A21.5a Category headings ordered according to Pre Text
A21.5b Category headings ordered according to Improvisation
A21 5c Category headings ordered according to Post Text
A21.6a Listener comments to the piano
A21.6b Piano table, ordered
A21.7a Listener comments to the drum
A21. 7b Drum table, ordered
A21.8 Frequency of motifs in each section
A21.9 Percentages — summary
Audio examples
A8.l A8.12
A17.1
Video example
A6.1
|
| adam_txt |
Contents
FOREWORD BY BARBARA L. WHEELER 11
Chapter 1 Microanalysis in Music Therapy: Introduction and
Theoretical Basis 13
Thomas Wosch, University of Applied Sciences, Wuerzburg and Schweinfurt,
Germany and Tony Wigram, Aalborg University, Denmark
Part One: Video Microanalyses
Chapter 2 An Ethnographic Descriptive Approach to Video Microanalysis 29
Ulla Hoick, Aalborg University, Denmark
Chapter 3 Microanalysis of Preverbal Communication in Music Therapy 41
Christine Plahl, University of Applied Sciences, Munich, Germany
Chapter 4 Microanalysis on Selected Video Clips with Focus on
Communicative Response in Music Therapy 54
Hanne Alette Ridder, Aalborg University, Denmark
Chapter 5 Microanalysis of Interaction in Music Therapy (MIMT) with
Children with Developmental Disorders 67
Julia Scholtz, Universitdtsklinik, Dresden, Germany, Melanie Voigt, Kinderzentrum
Munchen, Germany and Thomas Wosch
Chapter 6 The "AQR instrument" (Assessment of the Quality of
Relationship) An Observation Instrument to Assess
the Quality of a Relationship 79
Karin Schumacher, University of Arts, Berlin, Germany and Claudine Calvet,
University of Arts, Berlin, Germany
Chapter 7 The Use of Improvisation Assessment Profiles (IAPs)
and RepGrid in Microanalysis of Clinical Music
Improvisation 92
Brian Abrams, Immaculata University, US
Part Two: Music Microandlyses
Chapter 8 Using Voice Analysis Software to Analyse the Sung
and Spoken Voice 107
Felicity Baker, University of Queensland, Australia
Chapter 9 Analysis of Notated Music Examples Selected from
Improvisations of Psychotic Patients 120
Jos De Backer, College of Science and Art, Leuven, Belgium and Tony Wigratn
Chapter 10 Music Therapy Toolbox (MTTB) An Improvisation
Analysis Tool for Clinicians and Researchers 134
Jddkko Erkkild, University ofjyvdskyld, Finland
Chapter 11 A Structural Model of Music Analysis 149
Denise Grocke, University of Melbourne, Australia
Chapter 12 Microanalysis of Emotional Experience and Interaction in
Single Sequences of Active Improvisatory Music Therapy 162
UteAA. Inselmann, University ofWuzburg, Germany
Chapter 13 The Music Interaction Rating Scale (Schizophrenia) (MIR(S))
Microanalysis of Co improvisation in Music Therapy with
Adults Suffering from Chronic Schizophrenia 174
Mercedes Pavlicevic, Nordoff Robbins Music Therapy Centre, UK
Chapter 14 The Use of Micro musical Analysis and Conversation
Analysis of Improvisation: 'The Invisible Handshake'
Free Musical Improvisation as Conversation 186
Julie Sutton, Centre for Psychotherapy, Belfast, Northern Ireland
Chapter 15 A Phenomenologically Inspired Approach to Microanalyses
of Improvisation in Music Therapy 198
Gro Trondalen, Norwegian Academy of Music, Oslo, Norway
Chapter 16 Event based Analysis of Improvisations Using the
Improvisation Assessment Profiles (IAPs) 211
Tony Wigram
Chapter 17 Measurement of Emotional Transitions in Clinical
Improvisations with EQ_26.5 227
Thomas Wbsch
Chapter 18 Microanalysis of Processes of Interactions in Clinical
Improvisation with IAP Autonomy 241
Thomas Wosch
Chapter 19 Steps in Researching the Music in Therapy 255
Lars Ole Bonde, Aalborg University, Denmark
Part Three: Text Microanalyses
Chapter 20 Understanding Music Therapy Experiences Through
Interviewing: A Phenomenological Microanalysis 273
Katrina McFerran, University of Melbourne, Australia and Denise Grocke
Chapter 21 Text Analysis Method for Micro Processes (TAMP)
of Single Music Therapy Sessions 285
Kerstin Ortlieb, University of Applied Sciences, Magdebury and Stendal, Germany,
Maria Sembdner, Otto von Guericke University, Magdeburg, Germany, Thomas Wosch
andjorg Frommer, Otto von Guericke University, Magdeburg, Germany
Chapter 22 Microanalysis in Music Therapy: A Comparison of Different
Models and Methods and their Application in Clinical
Practice, Research and Teaching Music Therapy 298
Tony Wigram and Thomas Wosch
LIST OF CONTRIBUTORS 317
SUBJECT INDEX 321
AUTHOR INDEX 327
List of Figures
2.1 An example of video recordings from two angles 31
2.2 Section of transcription with (playing) movements and facial expressions placed in relation
to musical notation 3 3
2.3 Two polarities in the boy's participation in the interplay 38
3.1 Interaction graph showing interaction patterns in a music therapy improvisation 47
3.2 Interaction patterns in the ninth music therapy session with T 49
4.1 How to plot the session graph in an Excel spreadsheet (screenshot) 58
4.2 Session graph, Mrs E 63
8.1 Uploading a wave file into Multi Speech™ 112
8.2 Adjusting the duration display 113
8.3 Pitch contour of Craig's singing 113
8.4 Trimming the data in Multi Speech™ 114
8.5 Adjusting the frequency display 114
8.6 Applying pitch smoothing 115
8.7 Statistical data from audio sample 116
8.8 Results of analysis for speech contained in two audio files 117
8.9 Software displays for analysis of slope 118
9.1 Criteria of Sensorial Play (CoSP) 123
9.2 Example of selection of video excerpts from the patient's sessions 125
9.3 Score of excerpt 129
10.1 A schematic representation of the method for obtaining a system for automated
analysis of improvisations 136
10.2 The whole improvisation as the MTTB notation 141
10.3 Sequence 1 as the MTTB notation 142
10.4 Sequence 5 as the MTTB notation 144
10.5 Sequence 6 as tthe MTTB notation 145
10.6 An example of the imitation diagram 146
13.1 Hypothetical example of 60 seconds co improvisation showing how four moments
of change (Me) delineate the 10 time units and the MIR(S) levels 178
13.2 Index sheet 182
14.1 Structure of Stockhausen Parker 4 with reference to silences 190
16.1 Event based analysis (EBA) raw score sheet 217
16.2 lAPs raw score table 220
16.3 Ben's analysis scores for the Autonomy profile, Improvisation 1 221
16.4 Ben's analysis scores for the Variability profile, Improvisation 1 221
16.5 Ben's analysis scores for the Autonomy profile. Improvisation 2 222
166 Ben's analysis scores for the Variability profile, Improvisation 2 222
16.7 Summary IAP for a case example Ben 223
17.1 System of emotions in music therapy 229
172 Emotions Questionnaire 26.5 (EQ26.5) 231
173 Course of emotions in a clinical improvisation 235
181 Additional score signs 246
182 Microanalysis TAP Autonomy table 248
183 Musical interaction profile 251
191 How to make a qualified and explicit choice of method 256
19 2 Playback demonstration of the music charting Music Imaging Analysis (Mia) 268
193 Intensity profile of rhosymedre made by using the mia program 268
19.4 Musical notation/transcription of Example 2 using the Sibelius program 268
19.5 Intensity Profile of Example 2 using the Mia charting program 269
22.1 Differentiation of video, music and text microanalysis 313
22.2 Simplified decision tree for using different microanalyses 314
List of Tables
1.1 Differentiation of methods of microanalysis in music therapy in this book 23
2.1 A correlation of the process of the analysis with the results 37
3.1 Communication categories of the music therapist 44
3.2 Communication categories of the child 45
4.1 Analysis form 60
4.2 Analyst follows Steps 4.1 4.4 in the video analysis of Mrs E 65
5.1 Category system of observation 71
5.2 Classification of proportional distribution of behaviour 72
5.3 Classification of behaviour frequency results to interaction qualities 75
6.1 Specific characteristics of the instrumental quality of relationship (IQR scale) 83
6.2 Specific characteristics of the vocal pre speech quality of relationship (VQR scale) 84
6.3 Specific characteristics of the physical emotional quality of relationship (PEQR scale) 85
6.4 Specific characteristics of the therapeutic quality of relationship (TQR scale) 87
7.1 IAP profiles and scales 93
8.1 Components of intonation contours 108
8.2 Intonation characteristics for basic emotions 109
10.1 Summary of the most salient MTTB contents in sequence 1 142
10.2 Summary of the most salient MTTB contents in sequence 5 143
10.3 Summary of the most salient MTTB contents in sequence 6 144
11.1 A Structural Model for Music Analysis (SMMA) 150
11.2 Parallel analysis of music and imagery 15 5
12.1 Process of external ratings of musical improvisations (and self ratings) within one session
of psychoanalytically orientated improvisatory music therapy for one female patient 170
13.1 Distribution of 10 TUs across MIR(S) levels 1 9 179
13.2 Number of seconds per segment, at each MIR(S) level 181
13.3 Proportion of total time per MIR(S) level 181
13.4 Allocation of TUs and calculation of global score 184
14.1 Stockhausen Parker 4 motivic events immediately before and after each silence 191
14.2 Examples of types of hesitation pause in Stockhausen Parker duets 193
18.1 Basis and modifications of IAPs 244
19.1 Collated description of music (syntax) and imagery (semantics) 264
22.1 General clinical areas represented through the case examples in each chapter 300
22.2 The function of the microanalysis in relation to clinical practice 303
22.3 Dependent measures or criteria used in microanalysis by chapter 306
22.4 Forms of data collection, representation and documentation tools by chapter 308
22.5 Research versus clinical uses of the microanalysis tools by chapter 310
List of Boxes
19.1 Quantitative model for the rating of musical elements and dimensions 263
19.2 Further observations on syntax and semantics 265
19.3 A verbal description and interpretation of one improvisation segment 267
List of Web based Resources
A3.1 Improvisation from case example (music therapist: treble clef; child: bass clef)
A4.1 Excel session graph
A4.2 How to plot the session graph in an Excel spreadsheet
A4.3 Analysis form
A4.4 Session graph
A5.1 Glossary: observation of behaviour
A5.2 Case example table for video analysis documentation
A5.3 Modified categories IAP
A5.4 Case example: table of observations
A5.5 Gaze: child
A5.6 Gestures and movement activity: child
A5.7 Guidelines for carrying out the video analysis in MIMT
A6.1 Dimensions of the development of the premature and newborn after birth
A6.2 Stern's revised concept of self
A7.1 Grid data, improvisation segment 1
A7.2 Grid data, improvisation segment 2
A7.3 Grid data, improvisation segment 3
A7.4 PrinGrid display, improvisation segment 1
A7.5 PrinGrid display, improvisation segment 2
A7.6 PrinGrid display, improvisation segment 3
A7.7 Case example
A8.1 Analysis of sentence 'I feel happy today'
A8.2 Analysis of sentence 'I feel sad today'
A8.3 Analysis of sentence 'I feel afraid today'
A9.1 Musical form in a music therapeutic context
A9.2 Further categories of criteria of Sensorial Play
A9.3 Noted scores of exerpts and a description of the musical elements
A9.4 Aspects of the score
A 10.1 Sequence 1 as the MTTB notation
A 10.2 Sequence 5 as the MTTB notation
A10.3 Sequence 6 as the MTTB notation
Al 1.1 Bonnys list of music elements relevant to the BMGIM music programs
Al 1.2 Analysis of the slow movement of Bethoven's Symphony no. 9 (adagio molto) using the SMM
A 12.1 Method
A13.1 Musical Rating Scales (MIR(S))
A15.1 A comparison of phenomenologically inspired approaches to analyses of music (inspired by Ferrara
1984, 1991)
A15.2 Intensity profile of the whole improvisation
A15.3 Improvisation
A 17.1 Listening example 1
A17.2a Cluster analysis 1
A17.2b Dendogram 1
A17.3a Listening example 1, histogram, part 1
A 17.3b Listening example 1, histogram, part 2
A17.3c Listening example 1, histogram, part 3
A17.4 Table of emotion profile, clinical improvisation 1 (listening example 1)
A17.5 Listening example 2
A17.6a Cluster analysis 2
A 17.6b Dendogram 2
A17.7a Listening example 2, histogram, part 1
A17.7b Listening example 2, histogram, part 2
A17.7c Listening example 2, histogram, part 3
A17.7d Listening example 2, histogram, part 4
A17.8 Table of emotions, listening example 2
A 17.9 Emotion profile, clinical improvisation 12 (listening example 2)
A18.1 Score of first bars of clinical improvisation 1
A 18.2 Rhythmic ground autonomy category
A18.3 IAP Autonomy/interaction listening example 1
A18.4 Verbal description of the musical process
A18.5 Score of last bars of clinical improvisation 1 (listening example 1)
A19.1 The spectrum of music analysis
A19.2 Glossary
A20.1 Case example
A21.1a Summarised table of motifs 1
A21.1b Summarised table of motifs listed according to Pre Text
A21.1c Summarised table of motifs listed according to Improvisation
A21.1d Summarised table of motifs listed according to Post Text
A21.2a Ranking table 1
A21.2b Ranking table 2 ]
A21.2c Ranking table 3
A21.3a Client's table
A21.3b Client ranking table
A21.4 Motif IV: Relaxation Well being (example of a table of categories)
A21.5a Category headings ordered according to Pre Text
A21.5b Category headings ordered according to Improvisation
A21 5c Category headings ordered according to Post Text
A21.6a Listener comments to the piano
A21.6b Piano table, ordered
A21.7a Listener comments to the drum
A21. 7b Drum table, ordered
A21.8 Frequency of motifs in each section
A21.9 Percentages — summary
Audio examples
A8.l A8.12
A17.1
Video example
A6.1 |
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| discipline | Pädagogik Medizin Musikwissenschaft |
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| index_date | 2024-07-02T18:44:01Z |
| indexdate | 2024-12-20T04:01:18Z |
| institution | BVB |
| isbn | 9781843104698 |
| language | English |
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| spellingShingle | Microanalysis in music therapy methods, techniques and applications for clinicians, researchers, educators and students Music therapy - Instruction and study Musiktherapie (DE-588)4040878-4 gnd |
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| title | Microanalysis in music therapy methods, techniques and applications for clinicians, researchers, educators and students |
| title_auth | Microanalysis in music therapy methods, techniques and applications for clinicians, researchers, educators and students |
| title_exact_search | Microanalysis in music therapy methods, techniques and applications for clinicians, researchers, educators and students |
| title_exact_search_txtP | Microanalysis in music therapy methods, techniques and applications for clinicians, researchers, educators and students |
| title_full | Microanalysis in music therapy methods, techniques and applications for clinicians, researchers, educators and students ed. by Thomas Wosch ... |
| title_fullStr | Microanalysis in music therapy methods, techniques and applications for clinicians, researchers, educators and students ed. by Thomas Wosch ... |
| title_full_unstemmed | Microanalysis in music therapy methods, techniques and applications for clinicians, researchers, educators and students ed. by Thomas Wosch ... |
| title_short | Microanalysis in music therapy |
| title_sort | microanalysis in music therapy methods techniques and applications for clinicians researchers educators and students |
| title_sub | methods, techniques and applications for clinicians, researchers, educators and students |
| topic | Music therapy - Instruction and study Musiktherapie (DE-588)4040878-4 gnd |
| topic_facet | Music therapy - Instruction and study Musiktherapie Aufsatzsammlung |
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Inhaltsverzeichnis
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