IV
(^) Acknowledgements
My work would not have been possible without the support, advice, and encouragement of many
persons.
Professor Lars Ole Bonde encouraged the initiation of my project, and has supervised it with care,
energy, and insightful advice. His ability to suggest the right activity at the right time is unique. With-
out Lars Ole’s support and friendship, this project would not have existed.
The late professor Tony Wigram’s open-mindedness was essential for the accept of my PhD proposal.
The memory of Tony’s enthusiasm, piano playing and humour remains an enlivening force.
Ellen Thomasen, primary trainer in Guided Imagery and Music Therapy, invested her musicality and
sensibility in a vibrant process of collaborative research, which resulted in the design of a new GIM
program. Music therapist Helle Mumm courageously volunteered as a test person.
The music therapy staff and their guest teachers have created a series of rewarding research courses
in the lively and friendly ambience that is a prominent quality of the music therapy community. The
PhD colleagues at the school of research have involved me in stimulating teamwork.
During a research visit to Finland, Professors Mari Tervaniemi and Petri Toiviainen and their staffs in
Helsinki and Jyväskylä generously shared their knowledge and insight with me. Special thanks to Dr.
Teppo Särkämö, who placed his large library of articles at my disposal.
The kindness I have met in the administration of the Institute of Communication at Aalborg Univer-
sity brightens the life of an academic institution. The assistance and advice of music librarian Tove
Lohsien and her colleagues at the Aalborg University Library have been an enduring support of my
work.
A course of flow-writing by Bo Skjoldborg eliminated problems in the writing process at the right
moment. Stanley T. Bento has critically revised my English language with care and humour.
Finally, I wish to express my particular gratitude to Eva Christensen, who instructed me in the prepa-
ration of a PhD application, to Lise Christensen Bjerno, whose listening skills were indispensable for
the investigation of experimental listening, and to Lene Ravn for encouragement and love during the
whole process.
I dedicate my work to the memory of two friends who were enthusiastic ethnomusicologists,
Max Jardow-Pedersen (1940-2009), and Hans Peter Larsen (1946-2009).