David: Inner Odyssey
Brahms: Symphony No. 3, 1st mvt, Allegro con brio 10’23
Nielsen: Symphony No. 5, 1st mvt, Adagio (Excerpt) 9’43
Beethoven: Violin Concerto, 2nd mvt, Larghetto 10’15
Corelli: Concerto Grosso No. 8 in g minor, Adagio-Allegro-Adagio 3’32
Sarah: Transitions
R. Strauss: Ein Heldenleben (Excerpt from part 6) 8’04
Brahms: Symphony No. 3, 3rd mvt, Poco allegretto 5’29
Beethoven: Symphony No. 9, 3rd mvt, Adagio molto e cantabile 14’47
Brahms: Piano Concerto No. 2, 3rd mvt, Andante piu Adagio 14’29
Bernadette: Emotional Expression 1
Brahms: Piano Concerto No. 2, 1st mvt, Allegro non troppo 17’52
Brahms: A German Requiem, Part 1, “Selig sind, die da Leid tragen”,
and Part 5, “Ihr habt nun Traurigkeit” 16’49
Brahms: Symphony No. 4, 2nd mvt, Andante moderato 12’40
Suzanne:
Suzanne’s pivotal experience is related to two music selections:
R. Strauss: Death and Transfiguration (Excerpt) 4’00
J.S. Bach orchestrated by Stokowski: Passacaglia and Fugue in c minor 14’37
Grocke applies two procedures for the analysis of these music selections; the Phenomenological
Analysis Model (PAM), a phenomenologically inspired analysis model, which comprises a strong
component of score analysis, and the Structural Model of Music Analysis (SMMA), a score-based
analysis model, which touches on some phenomenological aspects.
2.5.3.1. Grocke’s Phenomenological Analysis Model
Helen Bonny’s contributions
As background for her phenomenological descriptions, Grocke chose a framework of pre-under-
standing, the basis and objectives of Guided Imagery and Music, clarified by Helen Bonny (HB), the
originator of the method. In order to establish this framework, Grocke first summarized HB’s lecture
notes about morphology, musical elements, and choice of music in GIM (pp. 418, 422-423). Subse-
quently, Grocke conducted interviews with HB, which were taped for documentation. One interview
concerned the general characteristics of music chosen for GIM (pp. 418-421). Other interviews con-
cerned the particular features of the GIM programs Transitions and Emotional Expression I, and the
above-mentioned music selections by R. Strauss and J.S.Bach (pp. 424-432). The program Inner
Odyssey was not included in the interviews.
During the interviews, HB listened to the music in question, commenting on the qualities of the
music while it was playing. She did not look at the score while listening, but Grocke afterwards
added reference points to the scores. The mentioned documents and interviews are primary sources
for the understanding of Bonny’s method.
As the two first steps of her music analysis, Grocke conducts open listening and listening for syntac-
tical meaning, according to the first two steps of Ferrara’s five-step procedure (pp. 146-149).
Open listening
In Grocke’s music descriptions based on open listening, she includes quotes from Bonny’s descrip-