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

Join Us for Lenten Lunch Conversations

Mondays in Lent
Noon—1 pm

In the Midst of Life: Pastoral Care, Worship and Music

This year the Kanata Centre for Worship and Global Song will host conversations that explore the relationship between pastoral care and music, and pastoral care and worship. Each Monday of Lent, the presenter will provide a 20 – 30 minute talk and the remainder of the hour will be conversation around the topic of the day. You are welcome to bring your lunch; coffee will be provided.

February 27 ~ Pastoral Care and Worship
Dr. Kristine Lund, Director of Spiritual Care & Counselling, WLS

March 5 ~ Worship planning from the pastoral care perspective
Rev. Nancy Kelly & Lilla Hall, St. Mark’s Lutheran Church

March 12 ~ Music and Spirituality in Palliative Care
Dr Colin Lee, Professor of Music Therapy, WLU

March 19 ~ Heroine’s Journey: Narrative therapy and group analytic
music therapy with refugee women in Canada
Dr. Heidi Ahonen, Professor of Music Therapy, WLU

March 26 ~ Worship and Pastoral Care
Rev. James Brown, Christ Lutheran Church, Waterloo &
Debbie Lou Ludolph, Dean of the Chapel, WLS

Free and open to the public
Keffer Chapel, Waterloo Lutheran Seminary

For more information: contact Dorinda Kruger Allen
dkrugerallen@wlu.ca or 519-884-0710 ext. 3241
Sponsored by the Kanata Centre for Worship and