Musical Identities of Danish Music Therapy Students: A Study of Musical Autobiographies and Interviews

1. THE MUSICAL IDENTITIES OF DANISH MUSIC THERAPY STUDENTS studied through musical autobiographies and interviews Lars Ole Bonde Aalborg University (Denmark) Center for Music and Health (Oslo, Norway)

2. Abstract and background In the music therapy masters program at Aalborg University (Denmark) Music and Identity has been taught as a graduate course (8. semester) in the last 10 years. The course is based on a musical autobiography (10 pages) written by each participating student over a period of 6 weeks. Purpose of the course: • to demonstrate the impact of personal musical experiences on the (developing) professional identity of the novice music therapist • to use this as the basis for a theoretical understanding of how music can be involved in identity work • To explore how music can be used in music psychotherapy with different client groups – focusing on musical reminiscence and identity. This presentation will focus on the second aspect. Publication of results: Anthologies on Music, Identity and Health – to be published by Center for Music and Health in 2011 and 2012.

3. Theoretical end empirical background Ruud (1997, 1998, 2006) • Theory based on a research study done with Norwegian music therapy students on the subject «Music and Identity«. 60 music therapy students were asked to collect on a cassette tape some of the pieces of music which had made a significant impact upon their life. They were also asked to write down a personal reflection, or their musical biography. Based upon qualitative research techniques a theory of music and identity has been developed. Important theoretical background has been discourse theory and narrative theory. • «Identity» is understood as a «metaphor for self-in context«, and it is stated that music can be used and experienced in a way which positions people in relation to time and place, other persons or transcendental values. • Grounded theory based analysis of interviews and written reflections led to the identification of four categories: a) music and personal space b) music and social space c) the space of time and place d) the transpersonal space

4. New data 2008-2010 Musical autobiographies (n= 15) written by masters students in Aalborg University 2008-2010 (free style; typically chronological or systematical self investigation of music’s role in life story) RepGrid Interviews (n=15) with the same students, based on each student’s choice of 8-10 musical experiences with special personal significance.

5. Method Musical autobiographies are analyzed using the theoretical model of Even Ruud (1997, 1998). RepGrid interviews are analyzed through a qualitative research methodology based on George Kelly’s Personal Construct Theory (Kelly 1955; Abrams & Meadows 2005).

6. Method: Ruud (autobiographies) Music and personal space: Are there examples of musicking related to being seen, heard and recognized as a specific person (”me”)? Is music related to awareness of feelings and bodily sensations (self awareness)? Are there examples of music related to mastering and achievement? Music and social space: Musicking related to social belonging, preferences related to social and cultural contexts, identity related to sub-cultures (the search/longing for community) The space of time and place: Are there examples of specific musical experiences regarded as markers of important events in life? (e.g. as related to transitions or rituals or specific events). The transpersonal space: Are the examples of experiences with music giving the feeling of something indefinite or ineffable? (I.e. ’peak experiences’ or ’strong music experiences’)

7. Method: RepGrid Folke og røvere (Th. Egner) 2 Brahms Requiem 5 Bach St. Matthew P 4 Bach Wohlt Klavier 3 It's now or never (Musical) 1 Danish songs 3 Green grow the rushes ho 1 Wagner Ring of the Nibelungen 4 Bizet Carmen 1 Beatles Sgt Pepper 1 Referential improvisation 1 ”RepGrid is based on the repertory grid technique, originally developed by George Kelly (1955). RedGrid is designed to help explore various experiences, events, processes, persons and objects that comprises one’s world. This consists of identifying elements, or various dimensions of similarity and distinction among specific members of a given phenomenon.One compares the elements according to where each fits along various constructs or continua between two contrasting elements. ...” (Abrams & Meadows (2007) Microanalysis p. 94f) Elements in a RepGrid – rated within the construct affirmation (1) – consolation (5)

8. RepGrid: a) Display b) Focus Grid

9. RepGrid: c) PrinGrid

10. Results 1: Patterns of identity (Musical autobiographies, Ruud) Music and personal space: All participants give examples – especially from childhood and adolescence. Experiences are predominantly positive and related to parents/family. Another category is experiences related to (the mastery of) a favorite/first instrument. Music and social space: All participants give examples. It is very individual whether personal or social space is predominant in the narratives. Episodes on music teaching include many negative experiences (related to teachers) The space of time and place: All participants give examples. They are often rich and may belong to all phases in the life story. For some participants core experiences have formed their course in life, while others don’t report such pivotal expereinces. The transpersonal space: Only a few participants give examples of peak or transpersonal experiences. The examples are mostly related to receptive experiences (concerts, recordings), but a few are also related to comtemplative playing or improvisation. Through the autobiography the narrated identity of each participant is constructed and performed. For most music therapy students the narrative has been influenced by their training – including self-experience, intuitive musicking and clinical improvisation.

11. Results 2: Patterns of identity (RepGrid Interviews) Examples of dimensions (construct groupings) identified in the material: • Work (health issues) vs. Enjoyment as distinct from Comfort vs. Stimulation • Intraversion vs. Extraversion as distinct from Inspiration by structure vs. Insp. by freedom • Thoughtfulness vs. Playfulness as distinct from Musical development vs. Personal development • Being in music vs. Doing in music

12. Results 2: Patterns of identity (RepGrid Interviews - continued) Each ”Identity map” (PrinGrid) is unique and reflects local differences in backgrounds and in reflections on music’s affordances and personal appropriations. However, there are some tendencies and similarities in the material: • Personal development vs. musical development • Intraversion vs. Extraversion • Simplicity vs. Complexity • Spontaneity vs. Reflection • Self vs. Community

13. Reflections on results The material confirms the 4 categories identified by Ruud, even if the Transpersonal space is only sparsely represented in the data. The repertoire of the Danish music therapy student is different. The music preferences are broad and flexible. Experiences with music to regulate physical and mental health have played an important role over the life span. The didactic value of ’musical autobiography studies’ is high. The relationship with first instrument and voice palys an important role. Ruud (2010): “I have earlier identified four dimensions of our life quality, which I find relevant when it comes to the role of musicking in life. After my recent work studying young palestinian refugees musicking in Lebanon these dimensions have to do with our vitality (emotional life, aesthetics sensibilities, flexibilities), agency (sense of mastery and empowerment, social recognition), belonging (network, social capital) and meaning (continuity of tradition, transcendental values, hope). A forthcoming article will demonstrate through empirical evidence how musicking affect dimensions of life quality.”

14. Reflections on method • Ruud’s method: Musical autobiographies is a fairly simple, flexible and highly engaging method, and data can be analyzed in several ways. ”Memory work” with selected music adds a sensory dimension and many nuances to the study. • RepGrid: The interview method is not technically demanding, but scientifically sophisticated. The structured procedure with feedback included allows both interviewer and participant to reflect on nuances in qualities. It makes ’personal tacit knowledge’ explicit, and the PrinGrid ”map” brings elements and constructs together in a clear and understandable form.

15. Thank you for attending!References RepGrid/WebGrid: www.repgrid.comlobo@hum.aau.dk • Abrams, B. & Meadows, T. (2005) Personal Construct Theory. In Wheeler, B. Music Therapy research 2nd Edition. Gilsum NH: Barcelona Publishers. • Abrams, B. (2007) The Use of Improvisational Assessment Profiles (IAP) and RepGrid in Microanalysis of Clinical Music Improvisations. In Wosch, T. & Wigram, T (Eds.) Microanalysis in Music Therapy. London: Jessica Kingsley Publishers • Aldridge, D. (1996) Music Therapy: From out of the Silence. London: Jessica Kingsley Publishers. • Gilbertson, S. (2006) Music therapy in early neurorehabilitation with people who have experienced traumatic brain injury. Music Therapy Today (Online 1st October) Vol. VII (3) 662-693 • Kelly, G. (1055) The psychology of personal constructs. New York: Norton. • Ruud, E. (1997) Musikk og identitet.. Oslo: Universitetsforlaget • Ruud, E. (1997b) Music and Identity. Nordic Journal of Music Therapy 6(1) • Stålhammar, B. (2006) Music and Human Beings – Music and Identity. Örebro: Universitetsbiblioteket.