Art and Music: therapy and research

Author(s): Lee, Colin

Abstract: Introduction: juxtapositions in art therapy and music therapy reserach. Andrea Gilroy and Colin Lee. Part I: The practice of research Joy Schaverien: Researching the esoteric: art therapy research Colin Lee: The analysis of therapeutic improvisatory music Mercedes Pavlicevic: Music and emotion: aspects af music theraoy research Part II: Clinical work Sue Van Colle and Tim Williams: Starting out in music therapy research Katherine Killick and Helen Greenwood: Research in art therapy with people who have psychotic ilnesses Mair Rees: making sens of marking space: researching art therapy with people who have severe learning difficulties Sarah Hoskyns: Observing offenders: the use of simple rating scales to assess changes in activity during group music therapy Julie Sutton: The sound-world of speech- and language-impaired children: the story of a current music therapy research project Amelia Oldfield and Malcolm Adams: The effects of music therapy on a group of adults with profound learning dificulties Part III: Context and culture John Henzell: research and the particular: epistemology in art and psychotherapy David Maclagan: 'The biter bit': subjective features of research in art and therapy Diane Waller: The development of art therapy in Bulgaria: infiltrating the system. Bibliography - Name Index - Subject index

Note: I introduktionen gør Gilroy og Lee opmærksom på den store forskel mellem de to fags forskningstraditioner i England (baseret på literature review af den eng. forskning): "Music therapy has, until recently, concentrated upon outcome studies using quantitative methodologies, mainly with clients with learning difficulties. reserach which adresses therapeutic processes and utilises qualitative research models is a recent development. It is striking that mt res does not include any work on the profession, its history and development, training, the person of the mt, their work place and so on. It seems that the aim of many mt res harsbeen to demonstrate the efficiacy of their practice through standard psychological res procedures. Art therapy researchers have preferred 'softer' res methodologies and have neither used the more quantitative methodologies nor adressed the outcomes of their work. Professional issues have been paramount, perhaps at the expense of more clinically-oriented research." (p. 7) Mt res har især været process and outcome studies;outcome anvender anvender etologisk observation og videoanalyse som metoder, mens procesres. f.eks.studerer 'critical moments' (Pavlicevic 1988) eller Kellys Personal Construct Theory + videoanalyse (Hoskyns 1988). Lee (1989, 1990) arbejder procesorienteret med analyser af improvisationernes musikalske og terapeutiske komponenter, mens Pavlicevis & Trevarthen 1989) kombinerer p&o i undersøgelse a musikalsk assessment af psykatriske patienter. På det seneste er tendens større mangfoldighed i metodologi, f.eks. Rogers (1992,1993) som bruger 'collaborative inquiry' i undersøgelsen af sexuelt misbrugte klienters symbolske valg af instrumenter. Kunstterapiforskerne har ønsket at undgå at 'måle' noget, så der er ingen outcome studies, men i stedet ikonografiske og symbolske analyser af billeders betydning - frem for kvantitative undersøgelser af billedelementer som f.eks. linier og farver. MT res. har ikke så meget analyseret musikken selv som adfærden i den musikalske aktivitet, iflg. G&L fordi "music itself does not seem to have quite the same potential for diagnosis eand evaluation as does art, perhaps because of its inherently intrinsic qualities" (p.7) - det kan bestemt diskuteres, og her mærker man, at den amriaksnke litt. er fraværende - ikke mindst Ken Bruscias banebrydende arbejder. Der peges på dilemmaerne iforholdet mellem klinisk praksis og forskning: Fagene har brug for outcome studies, som kan overbevise bevillingshaverne, men for klinikerne giver det ikke mening at spørge "om musikterapi virker" - for det ved de jo, at den gør! Forskningsspørgsmål må stilles meget mere specifikt, og "behovet for at forklare og validere et fnomen kommer ofte fra observartion eller erfaring af et fænomen". Af samme grund fokuserer forskningsspørgsmål ofte på kunsneriske, musikalske og terap. processer, som kun kan undersøges vha ikke-kvantitative metodologier. Dette fører til argumentet, at mt forskere "may return to the research paradigms of their primary disciplines" (p.9), men der er selvfølgelig behov for begge approaches. Kapitlet The realities of research (p. 9-12) indeholder grundlæggende bestemmelser af, hvad videnskab og forskning er, hvordan man går frem, hvilke metodologiske traditioner, der findes osv. Det ville egne sig godt til sml. med f.eks. Ken Bruscias stilsvarende kap. om forskningens grundspørgsmål. Introduktionen slutter med en oversigt over bogens artikler og deres sammenhæng.

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