2.3.10 Summary of the phenomenological descriptions
One article, Forinash (2000) indicates the value of a phenomenological approach in classroom
teaching. The remaining eight studies report phenomenological descriptions related to music therapy
sessions.
Ruud (1987) introduces an important modification of Ferrara’s approach, replacing Ferrara’s syntac-
tical, semantic, and ontological steps with three levels that are more appropriate for describing music
therapy practice; the structural, semantic, and pragmatic levels.
Forinash & Gonzalez (1989) adapt Ferrara’s procedure in order to describe the background and
course of a music therapy session. They conduct a pioneering study that demonstrates the applica-
tion of a phenomenological approach in qualitative research. Amir (1990) confirms the usefulness of
the procedure suggested by Forinash and Gonzalez.
Kasayka (1991) conducts another pioneering study, applying phenomenological description in re-
ceptive GIM therapy. For the description of music, she chooses Ferrara’s five-step method, and
concludes that this progression enhances the therapist’s understanding of the music and its clinical
potential. Her verbal descriptions are closely related to the tradition for interpreting music in GIM.
For the analysis of session material, she chooses a version of Forinash and Gonzalez’ proce-
dure. Her approach permits the description of relationships between the music and the client’s
imagery. This description constitutes the basis for therapeutic and spiritual interpretation of the session.
Grocke (1999) applies the first two steps of Ferrara’s method in her phenomenological description.
Her objective is the identification of pivotal moments in GIM sessions. For this purpose, the steps
open listening and listening for syntax are sufficient.
The open listenings are very particular, as they include Helen Bonny’s comments, taped while
the music was playing. The open listenings serve to document Bonny’s personal descriptions of mu-
sic selected for GIM programs.
Grocke’s listening for syntax represents a further development of Kasayka’s analyses of ses-
sion material. In order to uncover the relationships between the music and the client’s experienced
imagery, Grocke develops a system for identifying Imagery Meaning Units and Music Meaning Units.
This step in the description of music is closely related to score analysis.
Lee (2000) combines a phenomenological approach with other kinds of analysis. The strengths of
his method are the precise documentation of musical features, the inclusion of comments on the im-
provised music and the therapy sessions, and the emphasis on intersubjective validation.
Trondalen (2004) adds new steps to a selection of elements from previous procedures. In her nine-
step progression, she emphasizes the importance of eliminating the researcher’s own biases. First,
an initial evaluation aims at clarifying the researcher’s pre-understanding. Subsequently, a phenom-
enological horizonalization assigns equal value to all elements in the description. Trondalen acknowl-
edges the value of open listenings, and adds body listening and the drawing of intensity profiles to
her procedure.
For the purpose of designing intensity profiles of music, Bonde (2004) combines a phenomenological
approach with other methods of analysis. Descriptions of experienced musical features, moods and
relationships are combined with detailed score analyses, and the image potential of the music is ver-
ified by intersubjective validation. The intensity profile permits the identification of emotional peaks
in the music, and the estimation of the music’s therapeutic potential. The design of intensity profiles
adds a new aspect to the phenomenological description of music.