Tango Improvisation in Music Therapy/L'improvisation De Style Tango En Musicothérapie
Notice bibliographique
Résumé
The use of clinical improvisation has been extensively researched and written about (Aigen, 2005; Ansdell, 1995; Bruscia, 1987; Lee, 2003; Lee & Houde, 2010; Nordoff & Robbins, 1977/2007; Pavlicevic, 1991; Ruud, 1998; Wigram, 2004). However, a less explored research area of clinical improvisation has been the use of different styles of music. Lee (2003) and Lee and Houde (2010) posited that music therapists should be knowledgeable about multicultural styles and the general theoretical makeup of different music from around the world. According to Aigen (2005), Paul Nordoff reported a remarkable experience with the first client he worked with in a music therapy context. He observed that while the boy seemed content and serene when a Chinese pentatonic scale was played, the boy reportedly cried when Nordoff altered the tones to a Japanese pentatonic. Nordoff went back and forth between the two scales, and each time, he observed the same reaction. If two different musical styles can generate two completely different emotional responses, what are the implications of using different styles of music in clinical improvisation? How then, can these implications be utilized in a therapeutic setting?Purpose of the StudyWhile I was growing up and studying music in Buenos Aires, Argentina, tango music was an integral part of my life. After immigrating to Canada at the age of 22, my connection to tango diminished somewhat, maybe because the environmental incentive was not present any more. Many years later, I began incorporating tango music in clinical improvisation sessions as a master's degree student at Wilfrid Laurier University in Waterloo, Ontario, Canada. During these individual sessions, I noticed clients who had a tendency to play similar rhythmic and melodic patterns throughout improvisations. My aim as a student was on incorporating not only tango, but also different styles of music, instrumental arrangements, and improvisational techniques in order to expand clients' musical vocabulary and communication while assessing the clients' acquirement of musical patterns and ideas over time.It was because of my clinical work that I decided to conduct this research. The purpose of this research study was to incorporate tango music in improvisational music therapy. The objective was to expand each client's level of musical communication by analyzing the qualities of improvised tango, specifically dynamics, rhythm, melodic patterns, and tempo, ultimately linking the participant's musical expansion to the development of the therapeutic relationship.In order to understand the implications of tango style during clinical improvisation sessions, I formulated the following two questions:* How do the musical components of tango expand the client's level of musical communication?* How do the musical components of tango affect the therapeutic process?MethodologyResearch DesignThis qualitative research used a grounded theory approach. The goal of this research method is to develop interrelated concepts that can describe reality and at the same time generate new ideas (Amir, 2005; Glaser & Strauss, 1967). Semeijsters (1997) stated that reality is not described by means of an already existing theory and hypotheses; instead, these can be generated from and become grounded in the reality of a research study. This process requires the researcher's total immersion in the data in order to become intimately acquainted with the data and develop a detailed knowledge of it.The research began with the collection of data, and through this process I was able to identify patterns, relationships, concepts, and categories. This phase is called open coding. The second step, axial coding, was then done. This involved procedures for connecting and relating categories and subcategories found in the open coding (Wheeler, 2005). Most grounded theory research, including the one described in this article, also incorporates data related to self-reports, audio recording, and observations (Smeijsters, 1997). …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,002 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,001 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,001 | 0,001 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,014 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».