Group‑analytic Music Therapy Paper

Group‑analytic music therapy

Ahonen-Eerikainen, Heidi (2002)

Abstract

This paper will focus on the practical application of the group–analytic music therapy model I developed during my group–analytic training in 1995–1999 (Ahonen–Eerikäinen 1999) and discuss and illustrate how dreams and musical images can be used as a pathway to the unconscious levels of the group matrix. The theoretical approach of the group–analytic music therapy model is based on the group–analytic theories developed by Foulkes (1964, 1984, 1990), Kreeger(1991), Kennard (2000), Pines (1991), Dalai (1998), Salmmen (1997) and Dalai (1998). The music therapy methods include receptive music listening and imagination (Bruscia 2000; Bonny 1975; Ahonen–Eerikäinen 1996, 1997a, 1997b), referential and non–referential improvisation (Bruscia 1987, 1998ab; Pavlicevic 1997) and integrated art and music therapy methods (Ahonen–Eerikäinen 1994).

Citation:

Ahonen-Eerikainen, Heidi (2002) Group‑analytic music therapy. Nordic Journal of Music Therapy. 11(1), 48‑54.

Using Group‑Analytic Supervision Approach When Supervising Music Therapists

Using Group‑Analytic Supervision Approach When Supervising Music Therapists

Ahonen-Eerikainen, Heidi (2003)

Abstract

This paper will introduce a group–analytic music therapy supervision model, which I have developed and practised as a clinical supervisor with music therapists, music therapy students, creative art therapists and psychotherapists since 1995. The theoretical approach of the model is based on my experiences as a trainee of group–analysis at the Psychotherapy Institute of the Finnish Mental Health Association (1995–1999), the psychoanalytical group–analytic theories (Foulkes, 1964, 1984, 1990; Sharpe, 1995; Tsegos, 1993, 1995), Balint–theory (Drees & Akkanen–von Stein, 1994; Trenkel, 1994ab; Knoepfel, 1994), and the Group–Analytic Music Therapy Model (Ahonen–Eerikainen 2002). Every group–analytic music therapy supervision meeting is a creative process in which the group members learn to concentrate on their inner images, physical sensations and feelings. The goal is to expand participant’s understanding about the therapeutic relationship and its various aspects and elements.

See also:
Workshop: Group Analytic Music Therapy Supervision Workshop
Using Group-Analytic Supervision Approach when Supervising Music Therapists

Citation:

Ahonen-Eerikainen, Heidi (2003) Using Group‑Analytic Supervision Approach When Supervising Music Therapists. Nordic Journal of Music Therapy. 12(2), 173‑183.

Musically Elicited Images as Unique Clinical Data during the Process of Group Analysis with Traumatized Adults

Musically Elicited Images as Unique Clinical Data during the Process of Group Analysis with Traumatized Adults

Ahonen-Eerikainen, Heidi (2004)

Abstract

This paper will discuss the clinical use of musically elicited images – the referential imagery brought up either by therapeutic music listening or clinical improvisation, and created during music therapy. Clinical abstracts of group analytic music therapy will be presented to highlight the reconstruction of traumatic experiences and to illustrated the function of musically elicited images as visualized metaphorical condensations of client’s ideas and feelings. The analysis of these images provides a unique opportunity for insight and integration. They connect the client into his/her feeling self, bring up associations, and help to provide a window into events and feelings, which might otherwise be closed. My theoretical approach is based on the psychoanalytical group analytic theories (Foulkes, 1964, 1990, Foulkes & Anthony, 1990) and self-psychological aspects (Harwood 1988ab). The model of the mind that serves as a frame of reference for the coments that comprise the remainder of this paper draws mainly on Freyd (1900), Dowling (1987), Eisnitz (19878), Gillman (1987), Ornstein (19878), Pines (1988, 1996, 2003), Rangell (1987), and Rothsein (1987)

Citation:

Ahonen-Eerikainen, Heidi (2004) Musically Elicited Images as Unique Clinical Data during the Process of Group Analysis with Traumatized Adults. British Journal of Music Therapy. Vol. 18/1, 24‑29.

Physioacoustic therapy: placebo effect on recovery from exercise-induced muscle damage

Physioacoustic therapy: placebo effect on recovery from exercise-induced muscle damage

By Tiidus, P.M, , Markoulakis, R., Murray, D., Pamela J. Bryden, P.J, Ahonen-Eerikäinen, H. (2008)

Abstract

We evaluated claims that physioacoustic therapy can enhance muscle healing following damaging exercise. Untrained subjects were randomly assigned to control (C), placebo (P) or treatment (T) groups. All groups performed 70 eccentric triceps contractions followed by; no treatment (C), sham physioacoustic treatment (P), or actual physioacoustic therapy (T) on days 1-4 post-exercise. Muscle soreness and isometric and concentric triceps peak torque were determined pre-exercise and on days 1-4 and 7 post-exercise. The T group received physioacoustic therapy for 30 min/day on the treatment days. The P group believed they received physioacoustic therapy, although the chairs, were turned off. Peak torques were depressed (P Keywords: muscle soreness, physioacoustic therapy, placebo effect, muscle damage

Citation:

Tiidus, P.M, , Markoulakis, R., Murray, D., Pamela J. Bryden, P.J, Ahonen-Eerikäinen, H. (2008) 1Physioacoustic therapy: placebo effect on recovery from exercise-induced muscle damage. Acta Kinesiologiae Universitatis Tartuensis Vol. 13, pp. 117-128. (Toivo Jurimae Ed.).Tartu University Press. Estonia.

Short-term effects of vibration therapy on motor impairments in Parkinson’s disease

Short-term effects of vibration therapy on motor impairments in Parkinson’s disease.

Lauren K. King; Quincy J. Almeida; Heidi Ahonen

Abstract

Recent studies have suggested that vibration therapy may have a positive influence on motor symptoms in individuals with Parkinson’s disease (PD). However, quantitative evidence of these benefits is scarce, and the concept of “whole-body” vibration in these studies is vague. The objectives of the current study were to evaluate the influence of vibration on motor symptoms and functional measures in PD by delivering sound waves to the entire body. We delivered whole body sound wave vibration to 40 individuals with PD using a Physioacoustic Chair, a piece of equipment with speakers spaced throughout the chair permitting a series of programmed low frequency sound waves through the body. Using a parallel cross-over design we utilized the Unified Parkinson’s Disease Rating Scale (UPDRS), quantitative gait assessments, and a grooved pegboard for upper limb control. Improvements were seen in all symptom, motor control and functional outcome measures at the time of assessment. Specifically, a significant decrease in rigidity, and tremor were shown, as well as a significant increase in step length and improved speed on the grooved pegboard task. Results of this initial investigation provide support for vibration therapy as a non-pharmacological treatment alternative. Long-term benefits of vibration therapy will require further research.

Citation:

King, Lauren K., Almeida, Quincy J., Ahonen, H. (2009) Short-term effects of vibration therapy on motor impairments in Parkinson’s disease. NeuroRehabilitation, Vol. 25, No. 4. (2009), pp. 297-306.

Johdanto Ryhmäanalyysiin

Johdanto Ryhmäanalyysiin

Heidi Ahonen-Eerikainen, KT

Artikkelin lyhennelmä:

Artikkelissa esitellään sekä ryhmäanalyysin teoreettisia, että interventiivisiä perusteita. Alussa kaydään läpi ryhmäanalyysin historiaa ja terapeutin roolia ryhmässä. Sen jälkeen esitellään vapaan assosiaatio ja hiljaisuuden merkitystä. Ryhmän tarkastelu eri näkokulmista esitellään kolmen erilaisen ikkunan ja ryhmäpsykoterapiateorian avulla. Ryhmää voi tarkastella sekä yksilon, ryhmän vuorovaikutuksen, että ryhmäkokonaisuuden nakökulmista. Lopuksi esitellään ryhmä kokonaisuuden eli ryhmä matriksin erilaiset tietoiset ja piilotajuiset tasot.

Sisällysluettelo:
1. Terapeutti ryhmäorkesterin johtajana
2. Vapaasti soljuva keskustelu
2.1 Hiljaisuus
3. Kolme ikkunaa
3.1 Intersubjektiivinen Ikkuna
3.2 Interpersoonallinen Ikkuna
3.2.1 Laboratorio
3.3 Ryhmä Kokonaisuus (Ryhmä Matriksi) Ikkuna
3.3.1 Psyykkinen verkosto
3.3.2 Ryhmä ilmasto
3.3.3 Ryhmä äitinä
4. Ryhmä Matriksin Tasot

Citation:

Ahonen, Heidi (2009) Ryhmäanalyysin tietoiset ja tiedostamattomat vuorovaikutustasot. [Conscious and uncoscious levels of groupanalysis] In: Lindroos, H. & Segercrantz U. (Eds.). Yksiloksi Ryhmassa [Individuation in a group]. Gaudeamus. Hki. 49-65

Improvisaatio: Itsen Toteuttamista ja Ihmisen Ikävää Toisen Luo

Improvisaatio
Itsen Toteuttamista ja Ihmisen Ikävää Toisen Luo

Heidi Ahonen, KT,
Ryhmäanalyytikko, Psykoterapeutti (VET)
Musiikkiterapian Professori, Wilfrid Laurier University,
Director, Manfred and Penny Conrad Institute for Music Therapy Research
www.soundeffects.wlu.ca

Abstrakti

Tämä artikkeli perustuu fenomenologiseen tuktimukseeni, jonka tavoitteena oli tarkastella sitä, miten improvisaatioon osallistuja kokee improvisointi tilanteen. Mitä tuossa sensitiivisessa vuorovaikutustilateessa, missä kaksi ihmistä ja heidän musiikkinsa kohtaa oikein tapahtuu? Jos ’ilmassa on jotain’ niin mitä se on ja onko se jokin merkityksellista? Tutkimus kysymykset olivat: 1. Milläisesta kokemusprosessista on kysymys kun kaksi toisilleen tuntematonta ihmistä improvisoi keskenaan toisilleen tuntemattomalla musiikillisella tyylillä? 2. Mitä “on ilmassa” vuorovaikutuksellisen improvisaation aikana? 3. Mitä yhteyksiä improvisaatioon osallistujien kokemuksilla on Abraham Maslowin (1968) kuvaamien itsen toteuttamisen ja huippu kokemusten kanssa? Tutkimusaineisto sisälsi kaksi äänitettyä improvisaatiota, kolme haastattelua ja kuuden improvisaatioon osallistuneen kirjallista reflektiomateriaalia. Ferraran (1984, 1991) metodia sovellettiin aineiston analyysissa. Tutkimuksen tulokset esiteltiin kuvauskategorioina. Koska improvisaatio on tärkeä kliinisen musiikkiterapian menetelmä, tutkimus auttanee omalta osaltaan valottamaan kyseisen menetelmän dynamiikkaa.

Citation:

Ahonen, Heidi ( 2010) Improvisaatio – Itsen toteuttamista ja ihmsen ikavaa toisen luo. Turun Ammattikorkeakoulun julkaisusarja. (Liisa-Maria Viherlampi Ed.) Ihminen ja musiikki- Musiikillisen vuorovaikutuksen ulottuvuuksia. Turun ammattikorkeakoulun oppimateriaaleja 57 Turku: Turun ammattikorkeakoulu.

The Meta-Musical Experiences of a Professional String Quartet in Music-Centered Psychotherapy

The Meta-Musical Experiences of a Professional String Quartet in Music-Centered Psychotherapy

Heidi Ahonen & Colin Andrew Lee

Introduction

This chapter focuses on music-centered group psychotherapy with professional musicians, drawing together two models of music therapy: Group Analytic Music Therapy (GAMT) (Ahonen-Eerikainen, 2007) and Aesthetic Music Therapy (AeMT) (Lee, 2003). We will describe a series of four sessions consisting of open improvisations alongside group analytic discussions. The practice of music-centered psychotherapy with musicians is a new field, focusing on the psychological and physiological stresses they encounter.

Citation:

Ahonen, Heidi & Lee, Colin (2011) The Meta-Musical Experiences of a Professional String Quartet in Music-Centered Psychotherapy. Case Studies of Music Therapy (A. Meadows Ed.) Gilsum. NH. Barcelona Publishers. 518-542

Something in the Air: Journeys of Self-Actualization in Musical Improvisation

Something in the Air: Journeys of Self-Actualization in Musical Improvisation

By Heidi Ahonen & Marc Houde

Abstract

The aim of this qualitative, abductive, and phenomenological inquiry was to develop categories based on participants perceptions of their improvisation and listening experiences. As using improvised music in clinical music therapy is an important method, this study expanded the knowledge of and language needed to describe this very sensitive and insightful communication process. If there is something in the airwhat is it and is it something significant? Research questions included: 1. What kind of process is experienced when one improvises with an unknown person in an unfamiliar musical style? 2. What is in the air during live interactive improvisation? 3. What are the links between processes of self-actualization and peak experiences introduced by Abraham Maslow (1968) and the experiences described by the participants regarding their live improvised/interactive musical processes? The data of this study consisted of two audio-taped improvisations, three interviews, and the written reflections of six participants who participated in interactive live improvisation sessions. Ferraras method was adapted for the data collection and analysis. Research results are presented in the form of descriptive categories which give a clearer picture of what happens during the process of musical improvisation. “he author(s) gratefully acknowledge(s) that financial support for this research was received from a grant partly funded by Laurier Operating funds, and partly by the SSHRC Institutional Grant awarded to Laurier.

Citation:

Ahonen, H. & Houde, M. (2009). Something in the Air: Journeys of Self-Actualization in Musical Improvisation. Voices: A World Forum for Music Therapy.

St. Joseph’s Alzheimer’s Adult Day Program Music Therapy Group

“Not bad for an old 85 year old!” —The Qualitative Analysis of the Role of Music, Therapeutic Benefits and Group Therapeutic Factors of the St. Joseph’s Alzheimer’s Adult Day Program Music Therapy Group

Heidi Ahonen-Eerikäinen, PhD, MTA
Karie Rippin, BMT, MTA
Natalie Sibille, MPA
Rhea Koch, BASc
Dawn M. Dalby, PhD

Abstract

The aim of this interdisciplinary research project was to gain new understanding into how a music therapy intervention affects the quality of life for clients with dementia. The research was based on the qualitative paradigm, adapted grounded theory, and narrative inquiry (Denzin & Lincoln, 2000; Coffey & Atkinson, 1996; Corbin & Strauss, 1998; Glaser & Strauss, 1967, 1999; Strauss & Corbin, 1990, 1997; Glaser, 1998; Amir; Ceglowski, 1997; Glesne, 1997). Music therapy sessions of the Music Therapy program at St. Joseph’s Health Centre, Guelph, Ontario, Canada were videotaped and qualitatively analyzed. Residents, family members, and staff were interviewed and the interviews were qualitatively analyzed in order to obtain their perspective. This article summarizes one set of the results of this interdisciplinary study, the qualitative analysis of therapeutic benefits and group therapeutic factors of the St. Joseph’s Alzheimer’s Adult Day Program Music Therapy Group. The video-taped sessions of clients with dementia showed that, by participating in the MT sessions, they (1.) were able to work through some of their initial negative feelings (e.g., feeling sad, frustrated, stupid), (2.) began to feel proud of their accomplishments and eventually (3.) began to really enjoy the experience. The research project was funded by the Lloyd Carr-Harris Foundation.

Citation:

Ahonen-Eerikainen, H., Rippin, K., Sibille, N., Koch, R., Dawn, D. (2007) “Not bad for an old 85 year old!” —The Qualitative Analysis of the Role of Music,Therapeutic Benefits and Group Therapeutic Factors of the St. Joseph’s Alzheimer’s Adult Day Program Music Therapy Group. Canadian Music Therapy 2, 37-64.

Rehabilitation for Children with Cerebral Palsy

Rehabilitation for Children with Cerebral Palsy: Seeing Through the Looking Glass

Enhancing Participation and Restoring Self-Image through the Virtual Music Instrument

Heidi Ahonen-Eerikäinen Ph.D., MTA,
Andrea Lamont MMT, MTA,
Roger Knox Ph.D.

Citation:

Ahonen-Eerikäinen H, Lamont A & Knox R. (2008). Rehabilitation for Children with Cerebral Palsy:Seeing Through the Looking Glass
–Enhancing Participation and Restoring Self-Image through the Virtual Music Instrument
International Journal of Psychosocial Rehabilitation.12 (2), 41-66

Abstract;

This paper presents the results of a qualitative pilot study conducted on an innovative psychosocial rehabilitation technology developed and applied at Bloorview Kids Rehab, Toronto, Ontario, Canada.  The Virtual Music Instrument (VMI) developed by Dr. Tom Chau is a video-capture software program that increases music-making opportunities for children and youth and allows children with disabilities to play musical sounds and melodies using gestures. The qualitative study was conducted to identify suitable music therapy interventions and techniques using the VMI with children with cerebral palsy (CP), to categorize areas of benefit that are made possible by the VMI, and to build theory on the role and significance of the VMI in music therapy. The research questions included: (1) What interventions and techniques are best used by the music therapist to promote the therapeutic relationship in application of the VMI? (2) In which domains is there benefit, both during sessions and over the time period of the study, from the use of this instrument within music therapy? Six participants aged 5.5 to 10 were recruited on a cross-disability basis. Each participant received ½-hour individual music therapy sessions, twice per week over 10 weeks, using the VMI. The Music Therapist employed a variety of techniques, including both clinical improvisation and task-oriented activities. The sessions were videotaped, transcribed and reviewed by a multi-disciplinary team. The clinician notes were also transcribed. Using a multiple case study qualitative methodology and grounded theory techniques, the transcribed material was coded and analyzed according to emerged themes using the QSR N6 software program. The results bring better understanding of using the VMI for optimum benefit, and also lead to theoretical and practical advances in the use of gesture recognition technology on music therapy and psychosocial rehabilitation among children with cerebral palsy