provisation. Steps 3, 4, 5 and 6 focused on the significant moments. Steps 7, 8 and 9 again took the
entire improvisation and the client’s history and situation into consideration. Trondalen’s procedure
includes a number of noteworthy features.
Step 1
First, the researcher makes an effort to be conscious of her own possible biases. In step 1, she
clarifies her pre-understanding of the client’s history and situation before the open listenings in step
- Again, the “horizonalization” in step 6 is a means of eliminating biases, giving equal value to sa-
lient observed features before the open listenings in step 7. Trondalen is aware that a complete neu-
tralization is not possible, because the list of observed features is influenced by previous interpreta-
tions (p. 72).
Step 2
Next, the introduction of body listening in step 2 is an important addition. This is motivated by the
prevalent bodily aspect of the clients’ problems, but body listening may as well be fruitful for under-
standing improvisations with other kinds of clients.
Steps 3-5
In step 3, the researcher draws an intensity profile of the whole improvisation and separate intensity
profiles of each significant moment. These graphic curves are based on the experience of sound in
time and the understanding of intensity as a level of activity and assertive expression (p. 70).
Together with the score notation, the intensity profiles provide frameworks for the semantic and prag-
matic interpretations in steps 4 and 5. This is in accordance with Ferrara’s requirement, to base ref-
erential and ontological insight on descriptions of musical structure (this chapter p. 24).
Steps 6-9
After the horizonalization and a second round of open listenings in steps 6-7, step 8 presents a final
summary of musical structure, semantic meaning and pragmatic effect. Altogether, the phenome-
nological descriptions provide a many-faceted material for an ample discussion in step 9, related to
relevant theories (Julie pp. 246-289, Simen pp. 310-352). Thus, the researcher is true to the phe-
nomenological ideal. She bases the descriptions during steps one through eight on experience, and
defers theoretical explanation to step nine. Trondalen has designed and applied an elaborate model
for description and analysis of music therapy improvisations.
2.3.9. Bonde (2004) The Bonny Method of Guided Imagery and Music (BMGIM) with
Cancer Survivors
Lars Ole Bonde’s dissertation is a psychosocial study with focus on the influence of BMGIM on mood
and quality of life. In his study, Bonde applies a phenomenological approach to the preparation and
drawing of musical intensity profiles.
The intensity profile
One of the tools for analyzing the interrelationship of music and imagery in BMGIM is the intensity
profile, which is a graphic curve that depicts the varying intensity in a piece of music. In the context
of this study, Bonde understands intensity as “a composite phenomenological concept, synonymous
with the subjective experience of the music’s “power” (p. 140). Several aspects of the musical experi-
ence contribute to intensity, such as tension, volume, crescendos, melodic movement and phrasing,
mood and texture (p. 252). Bonde bases the intensity profile on,