Den här uppsatsen handlar om samtalet i musikterapi, ett ämne som är sparsamt beskrivet i litteraturen. En kort beskrivning av musikterapi som klinisk och aka- demisk disciplin ges, och en litteraturgenomgång görs av några böcker kring sam- talsmetodik och det lilla som finns skrivet om samtal i musikterapi. Studien byg- ger på tre musikterapisessioner arrangerade speciellt för studien och intervjuer med de tre musikterapeuterna. Sessionerna filmades och intervjuerna spelades in och skrevs ut. Det är en kvalitativ studie upplagd som en experimentell, instru- mentell, flerfaldig fallstudie. Det teoretiska perspektivet är hermeneutik och ana- lysmetoden hermeneutisk tolkningsanalys. Analysen av filmerna är inspirerad av fenomenologi. I uppsatsen ges en beskrivning i kondenserad form av de tre mu- sikterapisessionerna och intervjuerna sammanfattas. Därefter redogörs för analys- resultatet som framstår som tvådelat. Första delen är en tematisering av de verbala interventioner som förekommer under de studerade sessionerna. Interventionerna tematiseras som frågor, andra interventioner, tystnad, paradoxer och omformule- ringar, metaforer och tolkningar. Hur de talar om musik lyfts fram i ett särskilt avsnitt. Andra delen är ett utforskande av vilka funktioner samtalen tycks ha un- der dessa sessioner. Tanken prövas att de kan; leda till ökad trygghet, som i sin tur kan leda till att ett verkligt möte kan uppstå; fördjupa klientens upplevelse; tyd- liggöra klientens livsberättelse. / This thesis is about verbal dialogue in music therapy, a subject which is seldom discussed in the literature. A short description of music therapy as a clinical and academic discipline is presented, and a survey is made of some of the literature on methodology in professional dialogues and what little has been written about dia- logue in music therapy. The study is based on three music therapy sessions ar- ranged especially for the purpose and interviews with the three therapists. The sessions were filmed and the interviews were recorded and copied out. It is a qualitative study, constructed as an experimental, instrumental, multiple case study. The theoretical perspective is hermeneutic and the method of analysis used was hermeneutic interpretation analysis. The method used to analyze the films was inspired by phenomenology. In the thesis the three music therapy sessions are described in condensed form and the interviews are summarized. This is followed by an analysis of the result which appears to fall into two parts. The first section is a thematisation of the verbal interventions that occur during the sessions. The interventions are thematised as questions, other interventions, silence, paradoxes and rephrasings, metaphors and interpretations. A special section is devoted to theway the therapists talk about music. The second part of the analysis explores the functions that the verbal dialogues seem to have had during the sessions. The the- ory tested is that they can; lead to a greater feeling of security, which in its turn can lead to a genuine encounter; deepen the client’s experience; clarify the cli- ent’s life story.

This thesis investigates the way "healing" may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the "colonised" Maori and the "colonial" non-Maori, "healing" is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera. Wagner's attempts to regenerate German culture through his music dramas can be compared to Maori renaissance idea(l)s of cultural "healing" through a "return" to Maori myths, traditions and song and dance.

In a school system with fewer teachers, larger groups, and less resources, functionally oriented music therapy (FMT) could be a useful method of helping children function better at school.  In what way can FMT help improve children’s ability to deal with the challenges facing them at school?  During a project that lasted for 26 weeks, two children from a Swedish preschool class were offered individual FMT once a week.  The group as a whole was divided in two and offered group music (according to the Music in preparation for school (MUISC) programme) every second week.  There was an interview with the teacher, along with an assessment of function for the two individuals, at the beginning and at the end of the project.  The two individuals receiving regular FMT functioned better at school at the end of the project.  FMT could be an effective resource to help improve children’s ability to deal with the challenges facing them at school.

The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations.  The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward.

The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations.  The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward.

Text in Afrikaans / The Gestalt Play Therapeutic approach is used as contextual frame in this research where-in music is applied as an aid for the aggressive emotions of the primary learner. Emotional and behavioral problems in children in primary and secondary schools and even in pre-primary schools, are assuming alarming proportions. From the holistic approach of the Gestalt theory, it has an influence on the development of areas such as the emotional, physical, cognitive and social in the phase of middle childhood. There is a lack of research findings on the effect of music during support to the aggressive primary learner within a Gestalt Play Therapeutic frame. The experimental single system design was used as research method as part of the quantitative investigation. The conclusion is that music was used successfully in the handling of rage and aggressive emotions in the group of child respondents within the context of the Gestalt approach. / Social Work / M.Diac. (Play Therapy)

Text in Afrikaans / Sekere bevindings oor die positiewe en negatiewe invloed van musiek en die funksies wat dit met betrekking tot menswees vervul, is as 'n verwysingsraamwerk gebruik om historiese gegewens oar die konstruktiewe en destruktiewe aanwending van musiek in hoofsaaklik Duitsland en die V.S.A. te analiseer. Dit het aan die lig gekom dat musiek konstruktief aangewend is met betrekking tot: Intellektuele vorming: Intellektuele vaardighede en kennisverwerwing is deur musiek bevorder. Die leergebeure is veraangenaam en meer effektief gemaak. Estetiese vorming: Deur musiek is 'n estetiese waardesisteem en 'n goeie kunssmaak ontwikkel en die wording van volwaardige, gebalanseerde individue bevorder. Religieuse vorming: Musiek is aangewend om religieuse denke en gewaarwordinge uit te druk en om kennisoordrag, evangelisasie, sending en die belewing van 'n innige geloofsgemeenskap te bevorder. Etiese vorming: Etiese waarhede is met behulp van musiek herhaal en ingeoefen. 'n "Morele atmosfeer" en die vaslegging van 'n waardesisteem is daardeur bevorder. Politieke vorming: Politieke gevoelens en menings is deur musiek uitgedruk om mense te be1nvloed om bepaalde standpunte, partye, regerings of politieke stelsels te ondersteun. Nasionale vorming: Musiek is gebruik om patriotisme te verwoord, die kulture van volkere te weerspieel, volksfeeste op te luister en nasionale eenheid te bevorder. Sosiale vorming: Musiek is aangewend as 'n bran van vermaak en ontspanning en as 'n kommunikasiemiddel. Dit het gehelp om 'n groepsidentiteit te vestig, 'n gemeenskapsgevoel en sosialisering te bevorder en mense se gedragspatrone te be1nvloed. Affektiewe vorming: Deur middel van musiek is gepoog om die gevoelslewe te orden en te veredel en om positiewe veranderinge ten opsigte van affektiewe toestande teweeg te bring. Fisieke vorming: Verskeie liggaamsaktiwiteite en fisieke vaardighede, ontspanning en verfrissing is deur musiek bevorder en dit is as 'n terapie aangewend. Musiek is oak destruktief aangewend deurdat die Christelike kerk ondermyn, religieuse aanbidding benadeel, die jeug se emosionele beheer, selfstandigwording en etiese waardestelsels negatief be!nvloed, aggressiewe en opstandige gedrag, militarisme, politieke venyn en rassehaat bevorder, beswyming ge!nduseer, gehoorsintuie beskadig en regerings omvergewerp is. 'n Aantal aanbevelings en waarskuwings met betrekking tot die aanwending van musiek in formele, nieformele en informele onderwys- en opvoedingsituasies het uit die analise voortgevloei. / Certain findings concerning the positive and negative influences of music and the functions fulfilled by it in the life-world of man were used as a reference framework in order to analyse historical data on the constructive and destructive applications of music in mainly Germany and the U.S.A. It came to light that music was constructively applied with regard to: Intellectual shaping: Music was employed to enhance various intellectual skills, to improve the acquisition of knowledge and to render the learning process more pleasant and effective. Aesthetic shaping: An aesthetic value system and a good artistic taste were developed and the shaping of complete, balanced individuals was promoted through music. Religious shaping: Music was employed to express religious thoughts and perceptions and to promote close community of faith, knowledge transfer, evangelization and missionary effort. Ethical shaping: Ethical truths were reiterated and "practised" and a "moral atmosphere" and a value system established through music. Political shaping: Political feelings and opinions were expressed through music and people were influenced to support specific viewpoints, parties, governments or political systems. National shaping: Music was employed to express patriotism, to reflect the cultures of nations, to add lustre to national gatherings and to promote national unity. Social shaping: Music was a source of entertainment and recreation and a means of communication. Through music the establishment of a group identity, socialization and a communal sense were promoted and behavioural patterns affected. Affective shaping: Music was a means of ordering and ennobling inner life and of facilitating positive changes in affective conditions. Physical shaping: Relaxation, recreation, physical skills and activities were promoted through music which was utilized as a therapy. Music was also destructively employed by undermining the Christian church and harming religious worship, by negatively influencing youth's emotional selfcontrol, ethical value systems and the actualization of independence, by furthering aggressive and rebellious behaviour, inducing trances, causing physical damage to hearing organs and promoting militarism, political viciousness, racial hatred and the overthrow of governments. A number of recommendations and warnings concerning the employment of music in formal, non-formal and informal educational situations resulted from the analysis. / Art History, Visual Arts and Musicology / D. Ed. (Historiese Opvoedkunde)

A presente pesquisa visa acompanhar os efeitos de uma oficina de música sobre um grupo de crianças com transtornos de desenvolvimento. O objetivo foi o de estabelecer algumas hipóteses sobre a compreensão que a atenção à dimensão da musicalidade pode fornecer sobre esses casos, bem como que tipo de contribuição é capaz de proporcionar em termos de tratamento. Diversas pesquisas constataram que há, na primeira infância, uma relação do bebê com o outro, cuidador, da qual é possível depreender certas qualidades musicais. Além disso, pela via da psicanálise, é desenvolvida a tese de que a voz e a música podem ser abordadas como uma porta de entrada para a relação arcaica entre o sujeito e o Outro, em especial através da noção de pulsão invocante termo cunhado por Jacques Lacan, mas aprofundado principalmente por autores posteriores. A leitura de alguns trabalhos em torno dessa questão conduziu a uma consideração sobre a importância da musicalidade da voz, bem como da sincronia temporal na relação entre o infans e o outro, para a constituição do sujeito. Apesar da potência invocadora da música, o circuito da pulsão invocante não se completa enquanto a dimensão diacrônica e a alternância entre presença/ausência não engendrarem a falta cujo destino na constituição do sujeito for o do recalque originário. O que coloca a questão de se, em primeiro lugar, em casos de psicose e autismo, a sensibilidade à musicalidade está preservada e, em segundo lugar, se uma intervenção terapêutica pela via da música produziria efeitos positivos na qualidade do laço social estabelecido por essas crianças. Os resultados obtidos na pesquisa alinham-se com os de outras pesquisas que mostram que a sensibilidade ao manhês e à musicalidade está preservada em casos de autismo. Os efeitos que a dimensão de surpresa envolvida na música produz em diferentes crianças apresentaram uma aproximação possível com as hipóteses diagnósticas e com a orientação da intervenção no tratamento desses casos. Por fim, pareceu-nos que a atenção à dimensão musical, seja presente na fala ou nos movimentos, é profícua para o trabalho com crianças com distúrbios de desenvolvimento como o autismo e a psicose, seja num enquadre institucional em grupo ou não / The present dissertation aims to verify the effects of a music workshop on a group of children with developmental disorders. The goal was to establish some hypotheses related to what an attention to the dimension of musicality may provide in terms of understanding to these cases, as well as the kind of contribution it may offer in terms of treatment. Several researches have established that there is, in early childhood, a relationship of the infans with the caring other from which it is possible to infer musical qualities. Furthermore, through psychoanalytical theory, we develop the thesis that voice and music may represent a doorway to the archaic relationship between the subject and the Other, specially through the notion of invocative drive a term coined by Jacques Lacan, but which was further developed by subsequent authors. The reading of some works related to this issue has lead to a reflection on the importance of the musicality of voice, as well as the temporal synchrony present in the relationship between infans and other, to the subjects constitution. Despite the invocative power of music, the circuit of the invocative drive cannot complete itself as long as the diachronic dimension and the alternating cycle of presence/absence produce the lack that is, in the constitution of the subject, destined for the original repression. Which raises the question, first of all, if the sensibility to music is preserved in cases of autism and child psychosis and, secondly, if a therapeutic intervention based on music would produce any positive effects in the quality of the social bonds established by these children. The results obtained line up with other researches which show that the sensibility to the motherese and musicality is preserved in cases of autism. Also, the effects that the surprise inherent to music have on different children present us with a possible approach to the diagnostic hypotheses and to the orientation of intervention in the treatment of these cases. Finally, we had indications that the attention to the musical qualities present in speech or movement is fertile in work with children with developmental disorders such as autism and psychosis, whether in an institutional context or not

Esta pesquisa teve por objetivo compreender os sentidos e valores para a existência atribuídos por portadores de transtornos mentais em um CAPS a partir de um processo musicoterapêutico centrado nas vivências do canto e das danças circulares à luz da análise existencial-humanista de Viktor Frankl. Foi montado um grupo de estudo com 10 usuários do CAPS semi-internação de Ribeirão Preto ao longo de 4 meses de atuação e intervenção. O trabalho de campo contou com a participação de dois musicoterapeutas, sendo um observador e outro assistente. Enquanto procedimento realizamos entrevistas individuais iniciais com os sujeitos da pesquisa, levantamento do histórico sonoro-musical dos participantes e registro dos depoimentos dos mesmos ao longo dos 4 meses de intervenção e atuação. As produções de sentidos dos portadores a partir deste processo revelaram a importância da experiência de ser e conviver em grupo como parte dos valores de saúde mais significativos e urgentes na vida dos usuários. Os valores e sentidos de vida compartilhados e mencionados pelos portadores como necessários para o resgate da saúde mental foram: a) existir e ser reconhecido, em seu valor e vida, por outro ser humano; b) relações humanas solidárias como possibilidade concreta de acesso à uma dimensão real de saúde; c) o sentido de saúde mencionado é entendido como vivência e partilha de amizade, amor e encontro genuíno entre dois seres humanos; d) a busca das relações e do outro como o desejo mais profundo dos portadores no resgate da sua saúde mental e, finalmente e) a vivência do canto e das danças circulares como importantes veículos da saúde existencial e de valores noéticos na vida dos portadores. / This research aimed to understand the meanings and values attributed to the existence by patients with mental disorders in a CAPS (Psychosocial Support Center) from a music therapeutic process focused on the experiences of singing and circular dancing based on the existential-humanist analysis of Viktor Frankl. A group of study with ten users in semi hospitalization in a CAPS in Ribeirão Preto was composed along the four months of acting and intervention. Two music therapists, one observer and an assistant participated in the field work. Initial individual interviews were performed; the participants sonorous-musical history was evaluated and the discourses reported during the four months of intervention and acting were recorded. The production of the patients meanings from this process revealed the importance of the experience of being and living in a group as part of the most significant and vital health values in the users lives. The values and life meanings shared and reported by the patients as necessary for the recovery of mental health were: a) existing and being recognized, in one\'s value and life, by other human being; b) reciprocal human relations as concrete possibility of accessing a real dimension of health; c) the meaning of health mentioned is understood as experiencing and sharing friendship, love and genuine encounter between two human beings; d) the search for relationships and for the other as the patients profound desire in the recovery of mental health and finally, e) the experience of the singing and the circular dances as important vehicles of the existential health and of noetic values in the patient\'s lives.

Denna studie undersöker, via ett experiment, om musik stödjer inlärning av Tecken som Alternativ och/eller Kompletterande Kommunikation. Människor kommunicerar på olika sätt och musik kan vara motivation för lärande. I Förenta Nationernas Konvention om rättigheter för människor med funktionsnedsättning står det om rätten till kommunikation. Människor med intellektuell funktionsnedsättning behöver ofta stöd av omgivningen i sin kommunikations- och språkutveckling. Deltagarna i studien var vuxna med nära relation till personer med intellektuell funktionsnedsättning som använder eller behöver tecken som alternativ och/eller komplement för sin kommunikation. Deltagarna (40 stycken) var indelade i fyra grupper. Grupperna tilldelades slumpvis fyra olika betingelser: musik eller inte respektive känd eller okänd sång. Sammanlagt genomfördes tre tester av teckenkunskaperna av 20 olika tecken. Testerna genomfördes vid tre tillfällen utspritt över fem veckor. Resultatet visade att deltagarna som för sin inlärning av tecken fått stöd av musik kunde flest tecken efter fem veckor. I studien ges en bakgrund till begreppen musik och musikterapi, kommunikation och språk samt forskning och diskussion av dessa begrepp. Studien ger även förslag på framtida forskningsfrågor inom ämnet. / This study examines, through an experiment, if music supports the learning of manual signs. People communicate in different ways and music can be motivation for learning. In the United Nations Convention on the Rights of Persons with Disabilities one can read about the right to communication. People with intellectual disabilities often need the support from the environment in their communication and language development. The participants were adults with close relation to people with intellectual disabilities who use or need manual signs as an augmentation and/or an alternative to their communication. The participants (40 in all) were divided into four groups. The groups were randomly assigned to four different conditions: music or not each condition with known or unknown song. In total, in three tests the skills of manual signs of 20 different signs were investigated. The tests were performed three times spread over five weeks. The results showed that participants in their learning of manual signs supported by music had retained most manual signs after five weeks. The study provides a background to the concepts of music and music therapy, communication and language, as well as research and discussion of these concepts. The study also provides suggestions for future research issues in the subject.