Musical answerability: a theory on the relationship between music therapy improvisation and the phenomenon of action
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oslo
Norges Musikkhøgskole
2008
|
| Schriftenreihe: | NMH-publikasjoner
2008,1 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XI, 334 S. Ill. |
| ISBN: | 9788278530504 |
Internformat
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| 245 | 1 | 0 | |a Musical answerability |b a theory on the relationship between music therapy improvisation and the phenomenon of action |c Karette Stensæth |
| 264 | 1 | |a Oslo |b Norges Musikkhøgskole |c 2008 | |
| 300 | |a XI, 334 S. |b Ill. | ||
| 336 | |b txt |2 rdacontent | ||
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| 490 | 1 | |a NMH-publikasjoner |v 2008,1 | |
| 650 | 4 | |a improvisation | |
| 650 | 4 | |a musikterapi | |
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| 650 | 0 | 7 | |a Interaktion |0 (DE-588)4027266-7 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Improvisation |0 (DE-588)4127993-1 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
| _version_ | 1804139123598950400 |
|---|---|
| adam_text | Table
of contents:
Table of contents:
................................................................................................
V
List of figures:
.............................................................................................
X
List of examples from the scores:
................................................................
X
List of appendices:
.......................................................................................
X
Preface and acknowledgements
....................................................................1
PARTI:
...............................................................................................................5
INTRODUCTION
...............................................................................................5
Scope
.........................................................................................................6
Focus of investigation
...............................................................................7
Research subject, purpose of research, and research question
.................8
Relevance of the study
..............................................................................9
Personal and professional context
..........................................................10
My pre-understanding
....................................................................................11
An indigenous perspective
......................................................................12
Defining core concepts
...................................................................................14
Action
.....................................................................................................14
Music therapy
.........................................................................................17
Music therapy improvisation
..................................................................20
The Nordoff
-
Robbins tradition
.............................................................21
The client
................................................................................................25
The music therapist
.................................................................................26
Meaning
..................................................................................................29
Affordance
..............................................................................................31
Theory
.....................................................................................................32
Intuition
...................................................................................................34
Research design
..........................................................................................34
PART
2:.............................................................................................................37
METHODS
........................................................................................................37
Methodology
..................................................................................................38
A hermeneutic intuition?
........................................................................39
-
Or a phenomenological void?
..............................................................41
Phenomenology or hermeneutics, or both?
............................................44
Reduction, falsification, validation and verification
..............................47
Controlled subjectivity
...............................................................................49
Reflexivity
..................................................................................................50
Discourse
....................................................................................................53
Music therapy improvisation as oral discourse and as written discourse
................................................................................................................54
Metaphorical language
............................................................................56
Methods connected to the collection of the empirical material
.....................58
The insider s position
.............................................................................58
Discussion
......................................................................................................60
Defining the terms video and observation
..............................................61
Video analysis in research
......................................................................61
Naturalistic observation versus video observation
.................................63
Phenomenological aspects in the observations of the video recording
......65
Levels of appearances connected to the video recording
.......................66
Video recording and reality
....................................................................67
A concluding note on the use of video recording
...................................68
PART3:
.............................................................................................................71
THE EMPIRICAL MATERIAL
.......................................................................71
Presenting the process and its results
.............................................................71
Recording the video of the music therapy improvisation
..........................73
Making the improvisation excerpt from the video recordings
...............74
My observation of the excerpt of the video recording
...................................76
Preparations and discussion
....................................................................76
A short review
........................................................................................78
Presenting my observation of the excerpt of the video recording
.................79
Just before the session starts
...............................................................79
1)
The Guitar Excerpt;
0:00 - 1:30..................................................79
During The Guitar Excerpt
.................................................................83
Just before The Piano Excerpt
............................................................84
2)
The Piano Excerpt,
1:33-3.01...................................................84
During The Piano Excerpt
..................................................................89
3)
The Djembe Excerpt,
3:02 - 5:20...............................................89
During The Djembe Excerpt
...............................................................97
Preparing my analysis of the video excerpt
...................................................98
Choosing a model for my analysis
.........................................................98
Ferrara s analysis model
........................... 99
Carrying out Ferrara s model
...............................................................100
Discussing particular challenges
............................ ..............103
Presenting my analysis
........................................ 106
1 )
The Guitar Excerpt
....................................................................106
2)
The Piano Excerpt
................................ .....110
3)
The Djembe Excerpt
............................. 115
Other music therapists observations of the video recording
......................120
Collecting the observations
............................... ...121
Differences between the observers and my position
...........................122
Discussion of difficulties concerning the variations in the observations
..............................................................................................................123
Observations as narratives
................................... 124
Presenting the observations as narratives
....................................................126
Observation no.
1.......................................... 126
Observation
no.
2..................................................................................127
Observation no.
З
..................................................................................128
Observation no.
4..................................................................................129
Observation no.
5..................................................................................130
Observation no.
6..................................................................................131
Observation no.
7..................................................................................132
Observation no.
8..................................................................................132
Observation no.
9..................................................................................133
Observation no.
10................................................................................134
Observation no.
11................................................................................135
Presenting one narrative as a synopsis of all observations
...................136
Results
..........................................................................................................139
PART
4:...........................................................................................................145
THEORY
.........................................................................................................145
An interpretation of relevant music therapy theories
...................................147
Playful improvisation
...........................................................................147
Theory aspects from new musicology: Music as action
..........................150
Musicianship-in-action
......................................................................151
Musicing in a music-centred perspective
..........................................152
Musicking in a culture-centred perspective
..........................................152
Discussion
....................................................................................................153
Theory aspects from the early interaction analogy: Music as interaction
154
Sharing actions
..................................................................................155
Dynamic form
...................................................................................156
Interaction themes
.............................................................................159
Discussion
....................................................................................................160
Influences from the early interaction analogy described in The Guitar
Excerpt
..................................................................................................161
Challenging aspects connected to the import of the early interaction
analogy
..................................................................................................164
Theory aspects derived from a sociological perspective
..........................166
Chronos and kairos
...............................................................................166
In-time improvisation
........................................................................168
Communicative musicality and groove
.........................................170
Participatory discrepancies
...............................................................171
Discussion
....................................................................................................172
Delayed synchronicity or/and participatory discrepancies in The Djembe
Excerpt
..................................................................................................174
A concluding note
.................................................................................176
My import of other theories relating to action and music therapy
improvisation
................................................................................................177
Introducing Mikhail Bakhtin and relevant aspects of his thinking
..............178
Bakhtin*
s
dialogue
................................................................................178
vn
Defining dialogue
.................................................................................179
Dialogue as existence and communication
...........................................182
The Other
..........................................................................................183
Polyphony
.............................................................................................184
Ventriloquation
.....................................................................................185
Discussion
....................................................................................................185
A note on Garred s ideas on dialogue
..................................................186
Imagining the Other in the video recording
.........................................189
Bakhtin s carnival
.................................................................................194
Steinsholt s carnival
.............................................................................196
Discussion: My carnival
..............................................................................197
Music therapy improvisation as a place for carnival actions
...............198
A concluding note on Bakhtin s ideas
.....................................................202
Returning to the phenomenon of action
.......................................................203
The relationship between action and intention in music therapy
improvisation
........................................................................................204
PART
5:...........................................................................................................207
THE REFLECTIVE SYNTHESIS
..................................................................207
Proposing the main ideas of the study
.........................................................207
The emergence of a boundary phenomenon
............................................209
The action
-
intention boundary
...........................................................210
The boundary between action and intention exemplified by the client s
arm movements
.....................................................................................211
The client s arm movements understood by other music therapists
.... 215
A play-full boundary
................................................................................217
Ambivalence and carnival boundary
........................................................219
Is the music therapist a jester?
..............................................................223
Merging related aspects
...............................................................................225
The role of interaction
..................................................................................231
Action versus interaction
..........................................................................232
A dialogical attitude
.................................................................................235
The experience of sharing
........................................................................237
Response
-аЬШ/у
and responsibility
.....................................................237
Musical answerability
...............................................................................239
Bakhtin s answerability
........................................................................239
Musical answerability, an existential perspective
....................................241
Musical answerability, a social perspective
.............................................242
Musical answerability, a practical relational perspective
........................245
Perspectives on theory building
...................................................................247
Theory in a weak sense and theory in a strong sense
...........................247
Middle-range theory
..........................................................................248
Interlevel theory
....................................................................................249
Unifying theory
.....................................................................................250
A synopsis of musical answerability as theory
.....................................251
Epistemologica!
value of the theory
.............................................................253
Could musical answerability be music centred?
...................................253
A short return to the basic question: What is music therapy?
..............255
PART
6:...........................................................................................................257
CONCLUSION
................................................................................................257
Critique and recommendations for future research
..................................260
References:
...................................................................................................263
Appendices overview
...............................................................................275
IX
List of figures:
Figure
1:
Research design
...........................................................................36
Figure
2:
Illustration of the setting with placing of cameras
......................73
Figure
3:
Music Therapy Triangle (Garred, R.,
2004,
p.
132).................186
Figure
4:
Action
—
intention axis..
.............................................................205
Figure
5:
Tension between action and intention (action
-
intention axis)
210
Figure
6:
Tension between the need to act and ways in which to act
.......225
Figure
7:
Tension between action capabilities and action challenges
.....226
Figure
8:
Relationship between the tensions mentioned above
................227
Figure
9:
Activating play-condition
..........................................................228
Figure
10:
Relationship between the phenomenon of action and the
activation of play condition
.............................................................................229
Figure
11;
Tension between questions and answers
...................................235
List of examples from the scores:
Example
1:
Turn taking
................................................................................102
Example
2:
Rhythmical development in the therapist s guitar playing
........106
Example
3:
Client experimenting with rhythm and dynamic
........................110
Example
4:
Therapist using different registers and regulating tempo
.........
Ill
Example
5:
Musical fusion after tension building
........................................113
Example
6:
Isolating musical announcements
.............................................115
Example
7:
Longer interaction phrase
.........................................................116
Example
8:
Powerful strength and greater complexity
................................117
Example
9:
Music therapist accompanies client
.........................................118
Example
10:
Materializing time aspects
....................................................173
Example
11:
Imagining the Other in the video recording
..............................190
Example
12:
Client moving in and out of the musical interaction
.................200
Example
13:
Dynamics and rhythm connecting to intentions and actions
.....212
List of appendices:
A (The Guitar Excerpt)
................................................................................276
В
(The Piano Excerpt)
.................................................................................278
С
(The Djembe Excerpt)
..............................................................................282
D
(Observation no.
1)..................................................................................285
D
(Observation no.
2)..................................................................................288
D
(Observation no.
3)..................................................................................290
D
(Observation no.
4)..................................................................................292
D
(Observation no.
5)..................................................................................293
D
(Observation no.
6)..................................................................................296
D
(Observation no.
7)..................................................................................297
D
(Observation no.
8)..................................................................................299
D
(Observation
no.
9)...................................................................................301
D
(Observation no.
10).................................................................................302
D
(Observation no.
11).................................................................................305
E
SAMTYKKEERKIJERING
VED
INNSAMLJNG OG BRUKAV
PERSONOPPLYSNINGER TIL
FORSKNINGSFORMÅL
..............................307
F
INFORMASJONSSKRIV TIL DELTAGEREIFORSKNINGSPROSJEKT
308
G
SAMTYKKEERKIJERING
VED
DELTAKELSEI
FORSKNINGSPROSJEKT
..............................................................................312
H TA
USHETSERKL^ERING
VED
DELTAKELSE I
FORSKNINGSPROSJEKT
..............................................................................314
I Munnleg
informasjonf0rpersontriangulering
av
video,
17.
mars,
2005 315
J
AGREEMENTS CONCERNING CONFIDENTIALITY AND
PARTICIPATION RELATING TO RESEARCH PROJECT
............................317
К
AGREEMENT TO PARTICIPATION IN RESEARCH PROJECT
...........319
L
PROCEDURES FOR COLLECTION OF DATA MATERIAL IN
RESEARCH PROJECT.
...................................................................................321
M
PROCEDURES FOR OBSERVATIONS
..................................................323
N
AGREEMENTS CONCERNING CONFIDENTIALITY AND
PARTICIPATION RELATING TO RESEARCH PRO JECT
............................324
О
SAMTYKKE TIL
UTLÅNAV
VIDEO
.......................................................325
P
AGREEMENT CONCERNING TREATMENT AND USE OF A
PARTICULAR VIDEO EXCERPT IN CONNECTION WITH A
TRANSCRIPTION (SCORE) OF A PARTICULAR VIDEO EXCERPT.
.........326
Q NSD
(Norwegian Social Science services)
...............................................329
R
REK
-Ѕфг
(The National Committees for Research Ethics in Norway)
.... 332
S
Letter to NSD
............................................................................................333
T
Agreement with NSD extended
.................................................................334
XI
|
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| id | DE-604.BV035503651 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T21:39:05Z |
| institution | BVB |
| isbn | 9788278530504 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017559828 |
| oclc_num | 288916865 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | XI, 334 S. Ill. |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Norges Musikkhøgskole |
| record_format | marc |
| series | NMH-publikasjoner |
| series2 | NMH-publikasjoner |
| spelling | Stensæth, Karette 1963- Verfasser (DE-588)138241449 aut Musical answerability a theory on the relationship between music therapy improvisation and the phenomenon of action Karette Stensæth Oslo Norges Musikkhøgskole 2008 XI, 334 S. Ill. txt rdacontent n rdamedia nc rdacarrier NMH-publikasjoner 2008,1 improvisation musikterapi Spiel (DE-588)4056218-9 gnd rswk-swf Musiktherapie (DE-588)4040878-4 gnd rswk-swf Interaktion (DE-588)4027266-7 gnd rswk-swf Improvisation (DE-588)4127993-1 gnd rswk-swf Musiktherapie (DE-588)4040878-4 s Improvisation (DE-588)4127993-1 s Spiel (DE-588)4056218-9 s Interaktion (DE-588)4027266-7 s DE-604 NMH-publikasjoner 2008,1 (DE-604)BV000010710 2008,1 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017559828&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Stensæth, Karette 1963- Musical answerability a theory on the relationship between music therapy improvisation and the phenomenon of action NMH-publikasjoner improvisation musikterapi Spiel (DE-588)4056218-9 gnd Musiktherapie (DE-588)4040878-4 gnd Interaktion (DE-588)4027266-7 gnd Improvisation (DE-588)4127993-1 gnd |
| subject_GND | (DE-588)4056218-9 (DE-588)4040878-4 (DE-588)4027266-7 (DE-588)4127993-1 |
| title | Musical answerability a theory on the relationship between music therapy improvisation and the phenomenon of action |
| title_auth | Musical answerability a theory on the relationship between music therapy improvisation and the phenomenon of action |
| title_exact_search | Musical answerability a theory on the relationship between music therapy improvisation and the phenomenon of action |
| title_full | Musical answerability a theory on the relationship between music therapy improvisation and the phenomenon of action Karette Stensæth |
| title_fullStr | Musical answerability a theory on the relationship between music therapy improvisation and the phenomenon of action Karette Stensæth |
| title_full_unstemmed | Musical answerability a theory on the relationship between music therapy improvisation and the phenomenon of action Karette Stensæth |
| title_short | Musical answerability |
| title_sort | musical answerability a theory on the relationship between music therapy improvisation and the phenomenon of action |
| title_sub | a theory on the relationship between music therapy improvisation and the phenomenon of action |
| topic | improvisation musikterapi Spiel (DE-588)4056218-9 gnd Musiktherapie (DE-588)4040878-4 gnd Interaktion (DE-588)4027266-7 gnd Improvisation (DE-588)4127993-1 gnd |
| topic_facet | improvisation musikterapi Spiel Musiktherapie Interaktion Improvisation |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017559828&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV000010710 |
| work_keys_str_mv | AT stensæthkarette musicalanswerabilityatheoryontherelationshipbetweenmusictherapyimprovisationandthephenomenonofaction |