- Listening for semantic meaning
These listenings focus mainly on the experienced connections of motion, dynamics and emotion.
The music may offer journeying, exploration and momentary rest (Beethoven), interweaving and
union (Vivaldi), predictability and surprise (Bach). It may represent a dialogue between heaven and
earth (Fauré), and it may lift the listener into a space of triumph (Wagner). - Listening for ontological meaning
Kasayka is true to Ferrara’s idea of looking into the life-world of the composer. For each piece, she
makes an account of the composer’s history and personal situation and the likely intention of the
music. Moreover, she reports Helen Bonny’s statements about the function of each piece in the GIM
program. - Final open listening
Kasayka interprets the music in terms of its potential function in the course of the program, and its
particular emotional and spiritual qualities. In her metacritique, she concludes that the method of re-
peated listenings that reveal new layers of meaning is fruitful and resonant with the GIM process.
Kasayka concludes that Ferrara’s method serves the purpose of providing the guide with a deeper
knowledge of the music and how it will work in the session (pp. 124-125).
Analysis of the therapy session material
Kasayka analyzes the session material of four case studies (pp. 60-116). The clients were volunteers
who had contracted to have at least six GIM sessions with the researcher. Kasayka’s research ques-
tion was: “What types of transpersonal experience occur in a Guided Imagery and Music session
when the Peak Experience tape is used?” (pp. 30-32). The reports include six steps:
- Historical background: The client’s psycho-social history, and a summary of the progress made
in previous GIM sessions. - Session: Description of the GIM session based on “Peak Experience”.
- Syntax: Analysis of the musical material and corresponding imagery material of the session.
- Semantic: The referential component, including possible meanings.
- Ontology: A statement of the life-world of the client in this particular moment.
- Metacritique: Ongoing dialectic regarding the phenomenon of the session.
Kasayka’s application of the six-step procedure
Steps 1-2: Historical background and Session
The two first stages provide careful descriptions of the client’s personal situation and the decisive
factors in the session, including experiences from previous GIM sessions and the motivation for ap-
plying the Peak Experience program.
Step 3: Syntax
The syntax description is based on an audiotape recording of the session. It consists of a detailed
listing of the music, measure by measure, alongside with the distinctive features of the client’s imag-