Appendix 3.08 Music in music therapy dissertations 2002- 2008
MT 9. Jos De Backer (2004, Defense 2005) The transition from sensorial play to musical
form by psychotic patients in a music therapeutic process.
Jos De Backer has investigated an important aspect of music therapy with psychotic patients. He
examines the transition from monotonous, repetitive or incoherent sensorial play to the
creation of musical form, related to a symbolizing process.
De Backer proposes the following criteria and descriptions (pp. 270-273):
Criteria of sensorial play:
- there is no anticipation (sensed by the presence of an inner sound) of a musical beginning and
ending. This is represented in the music by endless play or by abrupt termination of the music. - there is almost no musical development. The content and style of the music is repetitive,
unchanging and/or fragmented. 3) the structure is limited and rigid, with a lack of dynamic
variability. 4) the individual notes and melodic and/or rhythmic fragments are not related to each
other.
Musical aspects of sensorial play:
- random playing (tonal and atonal). 2) repetitive and/or fragmented play. 3) significant lack of
phrasing. 4) significant lack of dynamics. 5) significant lack of variation. 6) an absence of silence in
the music.
Criteria of musical form:
- the play begins with an “anticipating inner sound or silence.” 2) the patient is able to end an
improvisation independently with post resonation. 3) silence is an important aspect for structuring
the play. 4) the patient can incorporate and use musical parameters in a stable way. 5) there is a
clear musical development in the improvisation. 6) there is an inner structure.
Musical aspects of form:
- pulse and phrasing are present. 2) rhythmic and melodic themes are present. 3) dynamic
variability in the play is present. 4) melody is embedded in a harmonic structure. 5) the patient is
able to vary and re-introduce musical fragments. 6) single notes and melodic and/or rhythmic
fragments are related to each other. 7) there is intertwining within the timbre of both players.
De Backer describes the process of his work with two patients in great detail.
Marianne, suffering from depression, improvises with metallophone, piano and kalimbaphone
(pp. 115-179)
Adrian, a shy and frightened client, improvises with metallophone, xylophone, cymbal, and
especially piano. The improvisations are frequently interrupted by Adrian’s insistence to play
Beethoven’s Für Elise. (pp. 181-264).