A phenomenological case study of accelerated experiential dynamic psychotherapy: The experience of change in the initial session from a client perspective.

Author(s):  
Shigeru Iwakabe ◽  
Jenn Edlin ◽  
Nathan Thoma
2018 ◽  
Vol 28 (2) ◽  
pp. 213-232
Author(s):  
Rayna D. Markin ◽  
Kevin S. McCarthy ◽  
Amy Fuhrmann ◽  
Danny Yeung ◽  
Kari A. Gleiser

2021 ◽  
pp. 003452372198937
Author(s):  
Caroline Elbra-Ramsay

This paper reports the findings of a small-scale study seeking to investigate how student teachers, within a three-year undergraduate programme, understand feedback. Feedback has been central to debates and discussion in the assessment literature in recent years. Hence, in this paper, feedback is positioned within the often-contradictory discourses of assessment, including perspectives on student and teacher feedback. The study focused on two first year undergraduate student teachers at a small university in England and considered the relationships between their understanding of feedback as a student, their understanding of feedback as an emerging teacher, and the key influences shaping these understandings. A phenomenological case study methodology was employed with interviews as the prime method of data collection. Themes emerged as part of an Nvivo analysis, including emotional responses, relationships and dialogue, all of which appear to have impacted on the students’ conceptual understanding of feedback as indelibly shaped by its interpersonal and affective, rather than purely cognitive or ideational, dimensions. The paper therefore seeks to contribute to the wider feedback discourse by offering an analysis of empirical data. Although situated within English teacher education, there are tentative conclusions that are applicable to international teacher education and as well as higher education more generally.


2015 ◽  
Vol 16 (3) ◽  
pp. 291-307 ◽  
Author(s):  
Nicole Reinders ◽  
Pamela J. Bryden ◽  
Paula C. Fletcher

2019 ◽  
Vol 15 (2) ◽  
pp. 206
Author(s):  
G. Paul Blimling

In this article, I respond to the insightful commentaries by Karen Riggs Skean (2019), by Richard Harrison (2019), and by Ben Adams (2019) on my hybrid case study of "James," a survivor of chronic relational trauma (Blimling, 2019). These commentaries have stimulated me to think further about the impact of music on my individual psychotherapy work, both with James and with subsequent clients, and specifically with regard to its impact on my approach to group psychotherapy work. In addition, these commentaries have raised particular issues that I respond to, including, (a) constructive criticism by Skean and Harrison regarding the potential further use of "metaprocessing" and the developments made in Accelerated Experiential Dynamic Psychotherapy (AEDP) since I completed the Case of James; (b) Skean’s perceptive point explaining how an individual therapist can take a personal passion—like music or literary writing or bicultural identity—and use it to enhance his or her enlivened presence in therapy with a client; and (c) Adams’ thesis that music and psychotherapy both have their origins in the shamanistic practices of our hunter-gatherer ancestors, suggesting that the combination of psychotherapy and music is a kind of return to our very roots.


Author(s):  
Konstanca Zalar

Through everyday exposure to language and music, individuals within a nation become sensitive to the melodic and rhythmical structure of their folk musical culture. It represents improvisational abilities of individuals and groups as well. Despite all changes, it indisputably maintains all characteristic of music parameters as inheritance of past ages. Due to its social role, it appears throughout everyones life and it also represents an important part of childrens life. In the study that was carried out with two groups of children between six and nine years of age, we were interested in determining how do children experience music making with elements of folk music and how it is possible to create the circumstances which can provide the spontaneity of folk music within the structured environment (like primary school). The research was designed as a phenomenological case study. This method allowed us to gather data which provided a deeper insight into the ways in which participants are able to play using elements of folk music and the way they feel while using such material. The results show that, contrary to the basic fact of spontaneity in folk music, 6 and 7 year old participants were not able to use music parameters to play with and had yet to learn how does the symbolic play on the basis of communication in musical language work out. The most natural way to bridge the gap between learning songs and experiencing individual musical expression in a manner of folk music in children seems to be a creative work with lyrics in Slovene language. We also found that children develop social competences of a great value, when they are involved in a symbolic play with folk music elements in the improvisational mode. Key words: folk music; improvisation; music language; music making


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