2.3.4. Kasayka (1991): To Meet and Match the Moment of Hope
In her doctoral dissertation, Roseann Kasayka applies phenomenological description in a study of
transpersonal elements of the Guided Imagery and Music (GIM) experience. In GIM therapy, the cli-
ent listens to selected music, lying down in a relaxed state. Guided by the therapist’s comments, the
client reports imagery, feelings and bodily states evoked by the music.
Peak experience
Kasayka investigates the transpersonal elements evoked by the program “Peak Experience” de-
signed by Helen Bonny.^27 This program consists of five music selections:
Beethoven: 5 th Piano Concerto, 2 nd movement, Adagio un poco mosso 6’36
Vivaldi: Gloria, Et in Terra Pax 5’46
Bach: Toccata, Adagio & Fugue in C major, Adagio - orchestrated by Ormandy 5’12
Fauré: Requiem, In Paradisum 2’56
Wagner: Lohengrin, Prelude to Act 1 9’50
It is Kasayka’s intention to identify the musical elements in this GIM program that are present during
moments of transpersonal experience. As transpersonal, she understands “experiences involving an
expansion of consciousness beyond customary ego boundaries and beyond ordinary limits of time
and space.” (p. 5).
On the background of ideas stated by Ihde (1976), Clifton (1983), and Ferrara (1984), Kasayka
chooses to apply two forms of phenomenological inquiry. For music analysis, she adopts Ferrara’s
five-step procedure (1984).^28 For analysis of the music therapy session material, she adopts a six-
step version of Forinash and Gonzalez’ seven-step procedure (1989), omitting step four, “sound as
such”. Kasayka finds that both methods provide structure, flexibility, and openness for the human
presence in the musical experience (p. 28).
Music analysis
Kasayka personally conducts five-step listenings of the five pieces. She gives careful descriptions of
her experience in each step, and adds a metacritique (pp. 33-60). Kasayka follows Ferrara’s original
suggestion (1984:359-360) for step two, “Listening for sound and syntactical meaning”. This implies
that Kasayka’s step two includes a) listening for the sound as such, b) listening for formal structures
and implementing traditional methods of analysis.
- Open listening
Kasayka listens attentively and sensitively. She characterizes the sound, texture, motion, space and
mood of the piece and its immediate aesthetic impact. - Listening for sound and syntactical meaning
a) Listening for sound: Kasayka preferably reports the bodily impact of sound: the sound “draws”,
“pulls” or “holds”, its nature may be “soft flowing” or “full, but not overpowering”.
b) Describing formal structures: She provides detailed descriptions of the musical elements, syntax
and formal features of each piece, with reference to the musical score.
27 The Bonny Method of Guided Imagery and Music is described by Ventre (2002:29-35). For introductions to the Peak
Experience program, see Bonny (1978:45-48), and Grocke (2002:119-121). Concerning the background of the program,
see Grocke (1999:21-25).
28 This chapter, p. 19.