VI
Table of contents
Acknowledgements.............................................................. IV
Abstract....................................................................... .V
Chapter 1. Introduction............................................................. 1
Chapter 2. Music phenomenology:.................................................... 2
A Tool for Describing the Listening Experience. 2
2.1 The aim, basis and practice of phenomenology.................................... 2
2.2 Phenomenological description of music.......................................... 6
2.2.1. Don Ihde (1970): ”Listening” and ”Auditory Imagination”........................ 7
2.2.2. Don Ihde (1976): Listening and Voice....................................... 8
2.2.3. Thomas Clifton (1976): ”Music as constituted object”.......................... 11
2.2.4. Thomas Clifton (1983): Music as Heard. A Study in Applied Phenomenology....... 14
2.2.5. Lawrence Ferrara (1984): ”Phenomenology as a Tool for Musical Analysis”........ 18
2.2.6. Lawrence Ferrara (1991): Philosophy and the Analysis of Music.
Bridges to Musical Sound, Form, and Reference............................. 21
2.3 Phenomenologically inspired descriptions of music in music therapy research........... 26
2.3.1. Ruud (1987): Musikk som kommunikasjon og samhandling
[Music as communication and interaction].................................. 26
2.3.2. Forinash and Gonzalez (1989):
A Phenomenological Perspective of Music Therapy.......................... 27
2.3.3. Amir (1990): A Song Is Born............................................. 28
2.3.4. Kasayka (1991): To Meet and Match the Moment of Hope...................... 29
2.3.5. Grocke (1999): A Phenomenological Study of Pivotal Moments in Guided
Imagery and Music Therapy............................................. 31
2.5.3.1. Grocke’s Phenomenological Analysis Model............................... 32
2.3.5.2. Grocke’s Structural Model of Music Analysis (SMMA)........................ 34
2.3.6. Lee (2000): A Method of Analyzing Improvisations in Music Therapy.............. 34
2.3.7. Forinash (2000): On Listening to Edward................................... 35
2.3.8. Trondalen (2004): Klingende relasjoner [Vibrant Interplay]...................... 36
2.3.9. Bonde (2004) The Bonny Method of Guided Imagery and Music (BMGIM)
with Cancer Survivors.................................................. 39
2.3.10 Summary of the phenomenological descriptions............................. 41
2.4 Experimental Phenomenology: A project in experimental listening..................... 42