Melodic-Poetic Representation: Research Sings/La Représentation Mélodico-Poétique : Quand la Recherche Chante
Notice bibliographique
Résumé
AcknowledgementsI thank ten cancer patient-survivors without whom this writing would not be possible. This research was supported by an operating grant from the Sociobehavioural Cancer Research Network with funds from the Canadian Cancer Society. I was supported for this research through a PhD Studentship at the University of Toronto, supported by the Canadian Cancer Society. I am supported for this writing by a Postdoctoral Fellowship from the National Cancer Institute of Canada with funds donated to the Canadian Cancer Society. This writing is extracted from my arts-informed doctoral dissertation. I acknowledge Ardra Cole, Margaret Fitch, Denise Grocke, Sandra Trehub, Dave Hunt and Arthur Frank for their careful examination of this work.IntroductionIn addition to text, I represent arts-informed research about the meaning of a music therapy support group for adult cancer patients with images (Rykov, 2008 in press), poetry (Rykov, 2007 in press) and music (Rykov, 2006b).1 In this writing I discuss the song that emerged from the research, that represents the research and the contributing influences that shaped it. I first oudine the role of song and in music therapy, including the research participants' attitudes to singing. I introduce Corrine Glesne's (1997) concept of poetic transcription in terms of arts-informed research (Cole & Knowles, forthcoming). I extend Glesne's poetic transcription to song and call it melodicpoetic transcription. I discuss the song this research sings. I conclude that song is a form of representation of music therapy research.Song-singingSong is the most fundamental, immediate and embodied music. It engages us physically, neurologically, emotionally and spiritually (Sullivan, 2003). Songs in music therapy are used to facilitate self-reflection, life review and selfexpression:Songs are ways that human beings explore emotions. They express who we are and how we feel, they bring us closer to others; they keep us company when we are alone. They articulate our beliefs and values.... They allow us to relive the past, to examine the present, and to voice our dreams for the future. Songs weave tales of our joys and sorrows; they reveal our innermost secrets, and they express our hopes and disappointments, our fear and triumphs.... They are the sounds of our personal development. (Bruscia, 1998, p. 9)Singing wells up from deep within and brings joy. Singing necessitates deeper and more regular breathing than speech. When more oxygen is inspired due to increased vital capacity, the blood becomes more fully oxygenated. The oxygenated blood circulates to every cell throughout the body and promotes a relaxation response (Bouhuys, Proctor, & Mead, 1966). Also, song lyrics are a means of self-expression. One research participant said:There's something really nice about the song words that have such deep meaning when you're talking about the cancer experience. (Rykov, 2006a, p. 61)Joy or comfort experienced by is not, however, a universal experience. As another research participant said: Oh shit, singing (Rykov, 2006a, p. 61). For some, using the voice can be uncovering, over-stimulating and frightening (Sullivan, 2003). Singing, for others, elicits unpleasant memories associated with performance, expectations or judgments.Songs in the music therapy support group were used for their potential to provide support or evoke issues relevant to the cancer experience and as a means of facilitating interpersonal connection, not as a diversional or recreational sing-along activity. A small collection of song lyrics was provided in binders. These were added to during the course of the group, and given to participants to take with them when the group was over.SongwritingSongwriting is a common technique in music therapy practice (Baker & Wigram, 2005). It can be created from improvisation for a variety of therapeutic intentions (for example, Austin, 1998; Austin, 2001; Turry, 2005). …
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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 | 0,043 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,001 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,009 | 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; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».