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)
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:
(1) to demonstrate the impact of personal musical experiences on the
(developing) professional identity of the novice music therapist
(2) to use this as the basis for a theoretical understanding of how music
can be involved in identity work
(3) 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.
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
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.
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).
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’)
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
Elements in a RepGrid – rated within the
construct affirmation (1) – consolation (5)
”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)
RepGrid: a) Display b) Focus Grid
RepGrid: c) PrinGrid
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.
Results 2: Patterns of identity (RepGrid
Interviews)
Examples of dimensions (construct groupings)
identified in the material:
1. Work (health issues) vs. Enjoyment as distinct
from Comfort vs. Stimulation
2. Intraversion vs. Extraversion as distinct from
Inspiration by structure vs. Insp. by freedom
3. Thoughtfulness vs. Playfulness as distinct from
Musical development vs. Personal development
4. Being in music vs. Doing in music
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:
1. Personal development vs. musical development
2. Intraversion vs. Extraversion
3. Simplicity vs. Complexity
4. Spontaneity vs. Reflection
5. Self vs. Community
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.”
Reflections on method
(a) 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.
(b) 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.
Thank you for attending!
References
RepGrid/WebGrid: www.repgrid.com
lobo@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.